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The CD is from Fontana / Decca France; with a sixty-page booklet.
Microtonal folk music mixed with electronics and noise.
The first record was rave-reviewed. ‘I was transported to secluded valleys where age old traditions are the passionate expressions of a community, here re-energized by the chillingly sensitive electronic wizardry of Anders Hana and Morten Joh’ (Songlines). At home in Norway even the tabloids picked it up: ‘Gorrlaus has the same intense and monotonously suggestive sound hunt as early Kraftwerk, at the time they played Ruckzuck’ (VG).
And now II is a next step further in the same direction, more deeply attuned to diverse materials derived from field recordings and other research, with finer nuance and detail… and more fiddle.
‘The saxophonist leading a septet into fascinating, playful and sparky combinations of contemporary music, avant-garde jazz, techno, and improv; a kind of seance summoning the wailing fairy of Irish folklore, a shrieking harbinger of death.’
‘Hans Hulbækmo and Egil Kalman have long been a playful and creative rhythm section, with one foot in free jazz and the other in folk music. They’ve played together in the Marthe Lea Band and other projects, and since last year they’ve delved into the folk music of Norway and Sweden — all set in an experimental duo format. Drums and jaw harp (Hans) meet modular synth and double bass (Egil).
‘Unit of Time draws from the rhythmic details of folk music, as the basis for minimalist compositions full of improvisation. It’s not all about the groove, though. Some melodies are interpreted straightforwardly enough, but the unconventional instruments give the music a new depth. Unusual timbres and sonic phenomena emerge, mesemerizingly.’
‘Marvelling, playful, inquisitive contemplations, ranging from the stardust that forms us to the very first human sound that reverberated through a cave; ambient, liminal narratives woven by poetic recitation and Buchla, bass and sitar, edging towards blues and spiritual jazz.’
Mono, 50th Anniversary edition.
The son of the world-renowned tar and setar virtuoso Hossein Alizadeh; a true master of the Iranian spike fiddle, or kamancheh; and a key voice in contemporary Iranian music, blending classical Persian traditions with avantgarde experimentation.
The two Rituals presented here are deeply immersive, epic, meditative soundscapes, charged with memory, emotion, and the spirit of resistance.
‘Luminous meshes of colours and textures, vaulting between free jazz, dub, raga, ambient, and ritual music. Riveting polyrhythms underpin towering arrangements for flutes, synths, and processed acoustic instruments. The drumming and psychoactive, ceremonial melodies evoke the fourth world of Don Cherry, Jon Hassell, Popol Vuh et al. An alchemical, Buddhist/Taoist/Hindu slant guides the narrative.’
This is a blast — a tremendously entertaining survey, centred in the Basque country, uproariously mangling together everything from Suicide to dub, Surf to tribal-style chanting, Satanism to toothpaste, with zinging wit, energy and intelligence, and knockabout anti-authoritarianism.
Well-presented; warmly recommended.
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