Andy Moor and Yannis Kyriakides – Rebetika (2010, Unsounds)
Whilst homage can often feel pastiche, derivative, or just lazy, Andy Moor and Yannis Kyriakides’ (re-)interpretation of classic Greek rebetika guitar works is instead rather fascinating and wholly original. Featuring Moor on guitar and Kyriakides on computer, Rebetika captures the duo in live action in Glasgow, Groningen, and Amsterdam between 2006 and 2007. The pair combine to de/re-construction classic Greek rebetika recordings and in the process craft pieces from the source materials that are at times intuitive and ruminative and other moments fragmentary and alien with the results bearing little resemblance to the source materials. The opener, “Minores” (using “Minores Manes” by Stratos Pajiomdsis) begins unassumingly featuring only subtle manipulations of Pajiomdsis’ original work. As the seven minute track unfolds, Kyriakides forges labrynthine paths that entrance the listener without overpowering the innate solemnity of the original tune. Moor sprinkles the piece with some tasty and odd interjections: full and half-note plucks along with nauseating harmonic barbs, both of which add a surprisingly percussive sense of unease and disquiet. By the time the listener has arrived at track four, the album’s nine-minute centerpiece, “All is Well,” one has been fully pulled down the rabbit hole. Dimitirs Kontogiannis’ “Eimai Finos Magkas” provides fodder for Kyriakides glitch-laden affair which is an unholy amalgam of early-Cluster and Greek broadcasts on a shortwave radio that is ready to give up the ghost. Moor continues to possess an astounding awareness, realizing all the while that his guitar must simply be a passenger and conduit and not take center stage (no pun intended), as the guitar so often does. Moor and Kyriakides’ Unsounds label has no shortage of excellent releases, but this one certainly ranks among the best in their catalogue.
The Michael Flower Band — The Michael Flower Band (2008, Three Lobed Recordings)
Having recently seen Mick Flower perform with Clandestine Quartet, it was only a matter of time before his work in some capacity entered the Marginal rotation. This self-titled record from 2008 features Flower on six blistering strings and John Moloney blasting the kit. A low fidelity treat which showcases the duo’s swagger and gritty ebullience. At times reminiscent of psychedelia’s spacey heyday, other times more akin to a free-noise Kiwi outfit, easy on the noise. Featuring two studios cuts and three live ones, fans of either John Moloney or Mick Flower will dig this release for sure.
Keith Rowe and Toshimaru Nakamura — Weather Sky (2001, Erstwhile)
Buy [sorry, no available audio stream]
Sure, this release is several years old, but here at Marginal HQ, we’ve been exuberantly waiting for the right moment to review this collaboration between free noise legends Keith Rowe (on guitar) and Toshimaru Nakamura (on the “no-input” mixing board). “Weather Sky #1” opens with a high-pitched sine wave fading in; around the :45 second mark, in fades electronic noise on the left channel. This makes way to alligator clips rattling strings at around the 2:40 mark and the duo really start to jive. Sci-fi soundscapes weave with sine waves, fizzing electronics, scrambled 8-bit gurgles, and the myriad other sonic oddities Rowe lures from his guitar. Nakamura provides continuity and a sense of (anti-?)rhythm with droning sine (or triangle) waves. There are large segments of the opening piece where little happens. When one of the artists diverges, it is often only a soupçon of sound. In the final third, things hasten. Mechanical humming (most likely emanating from Rowe) supplants nearly all else. When Rowe cuts out, Nakamura remains steadfast and enveloped in electronic bliss until the piece fades out. “Weather Sky #2” is much more accessible. Not only owing to the fact that it is only five minutes in duration, but many of themes and motifs lack the esotericism of the other pieces. Despite it’s short length, the piece does not feel forced or haphazard. The final piece on Weather Sky (“Weather Sky #3”) feels both tenuous and private. At times, the piece feels like a straight-ahead dark ambient piece; yet Nakamura and Rowe’s reinforcing of one another, creates a collective sea of sound, whose opaque and reticent surface conceals untold mysterious and captivates the listener. Whilst we prefer the din Rowe knocks out as one part of the AMM, Weather Sky is an excellent deconstructionist work by two heavyweights of experimental sound. Coupled with Rowe’s painting of an éclair on the cover, fans of either artist, Chondritic Sound, or the otherworldly racket of either the AMM or Dead C are sure to enjoy this release.
Jez Riley French — instamatic | aarhus (2017, self-released)
For fans of field and nature recordings and “found sounds,” Jez Riley French is a name that resides in the upper echelon of this arcane aural milieu. This latest release was captured by French whilst visiting the coastal Danish city of Aarhus. The opener “parking” features the sounds of a parking garage undergoing renovations. The sounds captured feature a heavy, cold reverberation that concrete so brilliantly produces. One hears what sounds to be the sound of a groundskeeper spraying down the garage. The sounds that the listener encounters are reminiscent of the recorded works of Harry Bertoia. The album’s second track “dLg” features a mix of creaking metal (nearby train tracks, perhaps?) and crickets in the dead of night. For close listeners and fans of this type of recording, the Englishman provides a “window” into one facet of a distant land. Unlike photography, however, the ability of audio recordings to transcend the moorings of temporality provide a level of nuance, continuity, and change not afforded by visual mediums of reproduction. As the artist is well established and respected, it likely goes without saying, but French excels in his ability to capture and effectively transformer the banal into something sublime and compelling. JrF has long celebrated how rewarding a sensory experience listening can be. Moreover, French has consistently impressed with his abilities to both identify spaces and objects where interesting sounds “happen” and does brilliantly to accurately capture these aural phenomena.
Chris Watson – Weather Report (2003, Touch)
Nope, this isn’t an album called Chris Watson by jazz fusion icons Weather Report, nor is it a jazz fusion album courtesy of this former Cabaret Voltaire member. Instead, Weather Report is an assembly of sounds recorded by a true master of nature and field recordings (and as alluded to, one time Cab Voltaire member), Chris Watson. Consisting of three 18 minute tracks, Watson boasts not only a plethora of heterogeneous source material, but a keen ear for mixing and splicing this material into rich sonic collages. Animal and human, flora and fauna, weather and oceans flow continuously into one another to create a listening experience that is simultaneously terrestrial and ethereal. No, it isn’t the high art of the old world (Mozart, Beethoven, Stravinsky, et al.) nor does it have the commercial viability demanded by late-capitalism in its attempts to legitimize (or at least justify) artistic endeavor. Instead, Weather Report taps into something much deeper than commerciality or artistic prestige. It taps in to something which Bruce Russell (Dead C) managed to articulate succinctly and pithily: sound is fundamental, songs are not. Whilst recorded and manipulating for human consumption, Watson achieves a rare feat: he produces a cultural object which both reproduces fundamental sound(s), decentering the anthropocentric conceit that every cultural object must ultimately be “about” or at least reflective of human social imaginaries or aesthetic schemata (even implicitly), while also crafting something that can be enjoyed by human listeners. Undoubtedly, Watson’s selection of material and his decision to capture sounds in the first place raises questions about whether or not this release truly challenges the primacy of the human experience (a legitimate concern which cannot be fully addressed due to space restrictions of this medium); regardless, this release celebrates a great number of aural pluralisms and possesses the ability to remind the listener both how mysterious the planet we inhabit is and how wonderful it is to be alive. At a critical juncture in human history, one cannot help but think, it would be manifestly appropriate to send this album into space in the faint hopes that some distant alien civilization may one day discover what earth sounded like, long after the ship has been negligently run aground.