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Bharat Karki And Party
International Music
EM
A 1978, private-press outpouring of nuts Indian psych funk. Rock, Latin and Arabic styles take turns with the drugs amidst Hindu chanting, Moog, screaming, Indian percussion, flutes, and electric guitars.
'Spaced acid drones of acoustic chill, embracing electronic, ambient, world, avant garde, cosmic, free and chamber jazz MUSIC.'
His seminal masterpiece from 1986, chopping and whipping NYC airwaves into a turntablist proto-techno inferno. The CD comes with live footage, and software, so you can scratch up your own body-popping hell.
Respectful treatments of the lovely Roland P. Young album, thank goodness — layering, extending, underlining — with fine drumming from a Boredom, Muneomi Senju.
Live recordings of his homemade guitar, a piece of wood with two magnetic pickups, a couple of bass strings, an unwound guitar string — texture and implied pulse rather than tonality and metrical rhythm.
Open, crafted pop single from Woody's seventeen-year-old daughter, recorded in 1967.
Wildly compelling tapestry of free jazz, dubby electronics, marimba grooves, funk, blues and African folk, from this Philadelphia-based quintet recorded in 1972.
Deeply, densely, ritualistically hypnotic; massive and shifting like a glacier. (These horns are three metres long.)
An Afro-Steve Reich-style kalimba. Then come electric bass clarinet, soprano sax, bells, chimes and electronics. Sparse, spaced and meditative — this is highly recommended. And on vinyl now. Another EM detonation.
Deranged funk from Washington DC, overdosed on Funkadelic, Hendrix and New York No Wave.
The business — pure, heavy, deep Afro Cuban funk grooves. 1970s bass-driven percussion delirium. Lazaro Pla aka Manteca alongside Nelson 'El Flaco' Pardon on timbales and Carlos Potato Valdes on congas.
Wonderful stuff first on FMP in 1985 — bagpipes, organ, percussion, with huge density and scale. At times beatless, at others like techno crossed with the kind of tribal rounds Tracey got in Uganda, for example.
'The overall effect is of a collaboration in heaven between Oliver Messiaen and Albert Ayler, channelled by Lamonte Young' (The Wire).
A private pressing in 1978 — the first recordings of this entrancing, sun-dappled music, for 6 and 12-string guitars, and Eaton's own, handmade, utterly beautiful string instruments.
From the Tamam Shud milieu, the soundtrack for a 1982 Australian surf movie.
Very assured jazz settings for Rudy's masterful pan playing, from 1984.
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