Showing posts with label High-Life. Show all posts
Showing posts with label High-Life. Show all posts

Friday, 14 May 2010

Mandelbrot – Effect/Delay [Highpoint Lowlife]

Highpoint Lowlife makes a slight departure with this one, unleashing some noisy guitar drenched splattergedon and forgoing the electronica for a moment with an album from Keung Mandelbrot. He’s gone for the one take fly by the seat of your pants approach utilising the ‘10 fingers, 6 strings, 18 pedals, and no overdubs’ method to record the four tracks, which veer from the sublime and dreamy to the raw and abrasive sometimes all at once.

Opening track ‘Effect/Delay’ filters in with a riff that quickly descends into noisy loops and burnt out psychedelics. Layers of sound rush in all directions, dissident but with an otherworldly beauty and purpose: Like a noisier extended guitar solo that got out of hand from the Pixies track ‘Vamos’ and accidentally came loose from its hyper-punk ties as Santiago got more and more adventurous, attaching a rocket to his guitar which then drifted off into orbit, and they’ve just let it go… to have a life of its own floating up there never to return to the lucrative business of rocking stadiums as a reformed cult band’s favourite solo.

The extraterrestrial vibes continue on ‘Hope/Delay’ – Blissful loops and twinkling soundscapes surge into a dissident wall of noise before melting out of the intensity into an altogether more sinister, melancholy plateau, which again gives way to surges of blistering sound. Post-rock progressions and noise drenched passages sit side by side in an ever-evolving cycle of sound. The otherworldly charm only broken by the uneasy atmosphere of ‘Nervous/Delay’, which really does live up to its name: nagging tonal glitches buzz and tweak into different shapes. It’s the sonic opposite to the dreamy moments on Effect/Delay and maybe too much for some but the mood quickly switches as the smouldering ‘Twilight/Delay’ creeps into action: the frazzled guitar sounds like a burnt out mess of wires. Firing on empty cylinders before burning out into bursts of noise, from exhausted struggle to final exhilarating push. It’s something to behold, a slow moving cathartic release executed in style.

Effect/Delay is an experimental noise record that still manages to sound accessible, for every abrasive face splattering section there is another of melodic bliss. It never feels self-indulgent either. Mandelbrot keeps it dynamic with ever shifting moods and subtle progressions, holding your interest the whole time playing with your emotions with a visceral sonic pallet. A mesmerising set piece showing versatility and vision but overall an engaging ride.

Buy: Mandelbrot – Effect/Delay [Highpoint Lowlife]

http://mandelbrotset.co.uk/
http://highpointlowlife.com/

Sunday, 30 November 2008

Oren Marshall & The Charming Transport Band @ The Shed, 29th November 2008

Tonight The Shed welcomes Oren Marshall who I have heard be called, ‘Hendrix of the Tuba’ now this made me wonder what the hell was going to happen? Turns out he was in a dance to my African riddim’s mood rather than a Hendrix freak out, and you know what that’s fine by me.

Oren kicked things off by wandering around the room blowing what only can be described, as Jazzberry’s also know as the Jazz Raspberry along with some more rhythmic low end grunting. He even came at me and made me put my balls in his Tuba, which to be fair I was more than willing to do. After he had freaked out a nice section of the crowd with his testicular jazz march he made his way to the stage and the full band joined him.

This was no ordinary band this was The Transport Band. It featured well let me give you a roll call…

The line-up:
Oren Marshall (UK) – tuba
Afla Sackey (Ghana) - atenteben, vocals, percussion
Yaw Asumadu (Ghana) - djembe, congas
Annor Asamoah (Ghana) - gome drum
Nana Kwesi (Ghana) - keyboards
King David Sobiyi (Nigeria) - guitar
Julian Siegel (UK) - alto sax
Miles James (UK) - guitar.

So that gives you a little bit of a flavour of what was in store. A mish-mash of tuba led jazz and high-life was the call of the night. As always The Shed needs a little bit of a wakeup call, it is a sleepy village hall in rural North Yorkshire after all. This meant the first half was a little bit mellow in the crowd at least. The grooves where subtle, yet had some of the funkiest vibes I have heard for a while.

Jazz was the mainstay of half one, the tuba set the groove as the percussion which featured congas, drums and a gome that is pretty much a plywood box with a dude sat on it, lay down one hell of a rhythmic bed for the jazz improvisation to really get things going.
So as pockets of people got there bop on and other slowly nodded their heads. The kids at the front behaved and got praised from Oren as did we all, Pat’s on the backs all round…

By the time part two kicked of though and the crowd made up of locals and madmen had had some of that special local ale Shed Bitter down them, everyone was ready to move.

And they knew it, so picked up the pace by hitting us with the High-Life. The tempo came up, the grooves got hectic and the funk got rolling. Each track pretty much featured an improvised section from each artist then ended with them playing off each other then back into the groove. Improvised sections even got cheers and claps.

The vocalists brought a heavy African influence to the table along with the percussion this melted together with the jazz so well it was a perfect fit. Things really heated up when they worked the crowd with some work out style double time dance manuva’s. Even if it looked a bit like a mad line dancing class it was great fun and there was smiles all round.

Oren then let us know he was recording the set so as soon as that appears on his site I will link it on here right away just so you can get The Shed flavour from your home.

Some of my favourite moments must be when the two guitarists played off each other in a solid groove, just building the tension in the dance until you couldn’t help but move. Sax man Siegel was on form too when he really took over and let fly to make some hypnotic segments, when him and King David Sobiyi on guitar played off each other it was pretty special. The Gome drum was pretty damn special too, I couldn’t believe some of the beats coming out of that. The whole band was tight as hell and ready to roll. Orem kept it all in check and everyone did their thing.

To finish things off after some hardcore claps and stamps Oren Marshall and The Charming Transport Band picked up the pace even more with some super fast soca style beats. They gave us a warning to get those feet moving fast. This just kept going with improvisation after groove after improvisation until people had to sit down and the bar was drunk dry.

The Shed pull off another quality night.

http://orenmarshall.com/
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