“IV. Kali Yuga”
Composer and vocalist Amirtha Kidambi gilds strands of new music into complex forms – deep, circular arrangements that spill out into episodic vocal moments and jazz inflected grooves. Her group Elder Ones arranges precise instrumentation alongside Kidambi’s own vocal experimentation; improvisatory moments are anchored by the band’s explicit instrumental unison. Horn riffs and fragmented rhythmic runs wrap ornately around her triumphant voice in virtuosism, as bass fretwork, bow-sweeps, and harmonium help ground fierce vocalizations. Movements diverge and reunite according to an unknowable psychic framework.
“Kali Yuga,” a reference to “the age of vice” named in Sanskrit scriptures, is the final cycle in her Mother Tongues composition – a work premiered at Roulette in June 2015 for the Emerging Artist Commission. The piece unfolds accordingly as the most violent in the cycle with dramatic flourishes and sax lines blooming over stuttering, syllabic utterances. Kidambi’s collaborators – saxophonist Matt Nelson (Battle Trance/Tune-Yards), bassist Brandon Lopez (Vape Drip) and drummer Max Jaffe (JOBS, Unnatural Ways) – form a tight, impressive unit. Yet, always, they give enough breadth to showcase the roomy composition’s careful attention to space and instrumental recognition – as every cadence contains a detail-oriented view on the role and function of instrument. In a way, the work calls to mind late Talk Talk or Alice Coltrane’s vast work in its painterly use of tone and discipline.
Elder Ones is currently on tour in the Northeast and have been invited to EMPAC to record their debut album in February 2016 for a Spring 2016 release. Scope “Kali Yuga” and tour dates below.
November 17th @ Memorial Chapel, Wesleyan University, Middletown CT
November 18th @ Bennington College, Bennington VT
November 19th @ The Wheelhouse, Greenfield MA
November 20th @ Trans-Pecos, Ridgewood NY
November 21st @ Vox Populi Gallery, Philadelphia PA
“The Cutting Edge (Deep Web Version)”
Like a fine, four course meal, The Nativist always aims to impress on a grandiose scale. Drawing from a variety of genres and club atmospheres, “The Cutting Edge (Deep Web Version)” serves up a stew of muscles just aching to be eaten, followed by a a habanero salad in cream Caesar dressing, entree’d in heap of chop suey, and finalized with cracked creme brulee. All the ingredients are completely home grown, organically care for, freshly cut, and acutely cared for in a trifecta of production, musicianship, and technical editing. For amateurs, “The Cutting Edge (Deep Web Version)” is utter mayhem, catching ‘em in a weave so tight, no matter how full you get, escape in impossible and will only get you trapped even more. If you’re a seasoned listening, The Nativist has no remorse for your ears either, as he just tackles sack after sack of giant bags of rice, nearly pounding it into flour for bread. Yet, with just the right amount of plays, “The Cutting Edge (Deep Web Version)” will become your new fall anthem, and exactly the encouragement you need to ramp up the start of every day to brave the onslaught of critical weather. Prepare below:
Since moving on from his position as writer at Tiny Mix Tapes, More Eaze (a.k.a. M Rubz) dropped fine. on Full Spectrum Records, he’s already on that cassingle high, burning down side A AND B with a lodge. I’m not going to fuck on you, dear listener/reader: a lodge is purely on fire. And this ain’t some fire you try to put out with buckets of water to preserve the sustainability of the cabin, no. It’s like this was a gorgeously constructed lodge that used a variety of woods, so when it wicks flame, there’ll be a plethora of colors, and TranslucenceRecords will be there to drop the sickest cassingle this side of November. Deploying samples from the Pernice Brothers and Trey Songz, More Eaze breaks down some barriers in the cross-genre game that even writing about it would give away too much. I can’t make a lodge easier on you. TranslucenceRecords made sure of that. So listen up:
Three Thousand Flora
Literally, the newest tape on Afternoons Modeling by experimental wizard Wakesleep entitled Three Thousand Flora is blooming in sound color. As a cross between futurism, synthetics, and noise collage, garnering this insatiable medium of fluid music making on a teetering and constantly fluctuating pandemonium. It’s like Wakesleep had this intent or idea to make a satirical nu-age meditation album, drawing from the comedic timing of Sam Merenge, outsider intuition of Spencer Clark, blown-out production style of Jono Mi Lo, and the instinctual patience of musical composure beheld by Lieven Martens. And damn it this really goes deep on the ego-less emotional pull, downplaying feels and building upon what may or may not portray within the listener. Or just a game of cat and mouse, enticing listeners with juxtaposing sounds that harmonize in avant ways that make experimental theater asymmetrical. Pick yourself Three Thousand Flora. Wakesleep is a legend of the game. Tapes are sold out, but there’s a digital awaiting your download at the Afternoons Modeling Bandcamp, which you can scope below:
夕方の犬 (Dog in the Evening)
Room of Miniature
I like pretty music. I don’t care who knows it. I’m proud of it! And 夕方の犬 (Dog in the Evening) makes pretty music, so I like him. There, I said it. I like 夕方の犬 (Dog in the Evening). Deal with it, toots.
After runs on Patient Sounds, Adhesive Sounds, Spring Break Tapes! (Sounds), and Constellation Tatsu (Sounds), this time ‘round, 夕方の犬 (Dog in the Evening) is reeling and dealing his subtle, hauntingly beautiful Sounds for Dirty Pillows (Sounds). Just under twenty minutes, Room of Miniature is a mix of distant, reverberating piano cut-ups (sup, Debussy), movie clips, and snowflake softness. Oh, and other Sounds. Don’t you dare forget about the other Sounds!
Scope, peep, delve, burrow, and/or do whatever the fuck you want with the entirety of Room of Miniature below. Ain’t no enamel off my teeth.