Various Artists – Kwangkay: Funerary Music of the Dayak Benuaq of Borneo (2016)
The Dayak Benuaq from the Eastern Kalimantan region of Indonesian Borneo perform a funerary ritual called a “kwangkayâ€. Part of that ritual is a chant and musical piece called a “ngerangkau†featuring hypnotic chanting, percussion, gongs and chimes. There’s two versions of the ngerangkau recorded here, plus two other short snippets of field recordings from the region. Those two versions are similar in structure, with about 5 minutes of chanting following by 15 minutes of percussion. The first one is more stilted and feels more aggressive, the second one is more subdued. Both are really cool.
Various Artists - Ishq Ke Maare: Sufi Songs From Sindh And Punjab, Pakistan (2017)
I can’t speak intelligently about sufi music but all I know is it’s devotional and intense. This set of recordings from Pakistan comes from a variety of sources, from concert halls to living rooms, and it’s quite diverse and interesting. “Shah Jo Raag†is an absolute monster.
Various Artists – Where the Mountains Meet the Sky: Folk Music of Ladakh (2017)
The last of the three new Sublime Frequencies albums I took a listen to (see last two reviews) this one held the least interest for me, it is what it says, folk music from this tiny region of India. Didn't do much for me.
Voltigeurs – Thunder and Musk (2016)
Still catching up on Matthew Bower's 2016 output. First track is a blistering, churning live set from 2009…maybe not a set, it’s only 10 mins long. Other track is a little more airy but a little less interesting, and just 6 minutes.
Oren Ambarchi vs. Ricardo Villalobos – Hubris Variation (2016)
Similarly, catching up with all the Villalobos I missed out on last year with the next few...
I like both these artists, although I haven’t heard Ambarchi’s Hubris album where this is remixed from…apparently Villalobos did some work on that album too…anyway I wasn’t too impressed by this track, it’s extremely minimal (even by RV’s own standards) but, like most RV tracks, coalesces considerably toward the end if you have the patience. Not bad, not unmissable either.
Ricardo Villalobos – Who Are We? (2015)
A 12†featuring 2 tracks. “Buffalo Demon†featuring Alog was just OK. “Who Are You?†is notable because it features Jorge Gonzales of Los Updates, whose voice worked well with Villalobos’ remix of “4 Wheel Drive†and it works similarly well here.
Ricardo Villalobos & Einzelkind – Arnorac (2017)
There’s a big shapeless glob of chrome I don’t know what on the (horrible) cover of Arnorac. It looks like what the A side sounds like, a real gloopy offering. B is choppier and funkier by a good degree with samples of unintelligible conversation running throughout. Side C highlights a syrupy vocal sample on a thumping beat. D is the most shapeless and the least interesting of the bunch. Overall really good.
Ricardo Villalobos & Argenis Brito – Amnesia (2016)
A pretty clattery track, I don’t know if that’s a vocal sample or Argenis Brito or what (don’t know anything about him). Nice and airy. Good track.
Ricardo Villalobos – Detroit Heroes (2016)
“Alterverwalter†cool guitar loop that turns into something much more substantial and impressive and a crunchy, snakey, metallic beat. “Detroit Herpes†is a little more classic Villalobos, barely audible electronic blips under a rolling percussion rhythm. I liked the first track better but both are top drawer.
Peter Brotzmann & Heather Leigh Murray – Ears Are Filled with Wonder (2016)
Seems like a mismatch on paper and I was wondering if Brotzmann’s lung power would blow Murray’s pedal steel off the stage. But these two have been collaborating live dates for a while and they’re very much in synch. Brotzmann switches between tenor sax, bass clarinet, tarogato and clarinet on the single half-hour track, and blows sympathetically to Murray’s darkly spun riffing that conjures up a surprising amount of tension and dread. In fact there’s a threat of violence throughout the whole set that never sees release and the track is all the better for it. Highly recommended.
Six Organs of Admittance – Burning the Threshold (2017)
I keep up with Ben Chasney only intermittently, he seems to alternate really interesting releases with pretty humdrum ones. This one feels more like the latter. It’s a nice collection of his signature acoustic guitar and multitracked, ethereal vocals but even a host of interesting collaborators, both familiar and new (Chris Corsano, Alex Neilson, Damon & Naomi) didn’t stir up much interest for me.
.
.
