Tuesday, September 16, 2014

OCD018 : Baby Fire / The Red Robe

OCD018 : Baby Fire / The Red Robe

Diabolita (songwriter, guitar, vocals & theremin) started Baby Fire as a solo project. She met Cha (drums, keyboards) in January 2010.
Baby Fire's influences are eclectic. Diabolita - who is also a member of In Heaven and von Stroheim - is a fan of Siouxsie and The Banshees, of the Riotgrrrl movement and alternative rock bands such as The God Machine and The Afghan Whigs. Cha (who is also in Lady Fucked Up and Lem) is greatly influenced by drummer Ches Smith.
Within a few months they had written enough songs to open for bands such as HRSTA (Canada), Part Chimp (UK), CJ Boyd (US), Lydia Lunch & Gallon Drunk (US/UK).
Their debut album No Fear was released in March 2011 on Cheap Satanism Records, featuring special guests Dana Schechter (Bee and Flower, The Angels of Light, Insect Ark...) and Eugene Robinson (Oxbow).
In November 2012 they were invited by Godspeed You! Black Emperor to be their support band at the prestigious Cirque Royal in Brussels.

Baby Fire’s second album The Red Robe was recorded at Exitstencil Studios in Essex (UK), at the former headquarters of legendary anarcho-punk band Crass. It was produced by Tony Barber (The Buzzcocks...) and it features special guests Eve Libertine (vocals on ‘Victory’), Seesayle (violin on ‘Sunrise with Sea Monters’), Penny Rimbaud (voice) and Raphaël Rastelli (guitar) on ‘The Lit Light’.

The album’s sound is raw and organic and its moods range from utter darkness (‘Cold’, ‘The Perfect Dress’, ‘A Secret Ceremony’...) to blinding light (‘Door of Mercy’, ‘Victory’...) The title song ‘The Red Robe’ refers to the suicide of French-Russian writer Romain Gary. Allegedly he donned a red robe before taking his life, choosing red in order to not shock those who would find his body.
Expressing a desire to veer away from doom and destruction, the record closes peacefully with ‘The Lit Light’, which features words spoken by Penny Rimbaud and Diabolita.

The CD sleeve was beautifully designed by British artist Alice Smith.

Diabolita (aka Dominique Van Cappellen-Waldock) has collaborated on a full album with Eugene Robinson under the name Las Vegas. She also recorded vocals for Doug Scharin (Codeine, June of 44, Bill Laswell...) and Joe Goldring (Swans, Enablers...). She has appeared on stage with Eve Libertine (Crass) for a special performance at Larsens in 2013. She’s part of the Ladyfest Brussels collective.
Cha left the band in May 2014 to pursue her musical endeavours with Lady Fucked Up and Lem. Alinovsky (Digital Dance, Tuxedomoon, Anna Domino, The Durutti Column...) replaces her on drums.

What they said about Baby Fire:
I've got a good feeling for this record. The material is so good. And different. » Tony Barber

« I've been following along a lot of your songs for a long time. I like the shape you are taking and it's so great that you've been collaborating and expanding your sound. » Carla Bozulich!
« Klasse van eigen bodem. » Gonzo Circus
« Watch this band closely, for there is something very special here. » jerseybeat.com

« The overall tone of the release is one that combines sexy nonchalant vocals (think Justine Frisch- mann of Elastica) with straightforward instrumentation, but the best songs are the ones that are spoo- kier and darker. As far as debut releases go, this one outlines where the collaboration could move in the future, and it certainly leaves a portrait of a band that has their future work cut out. » Foxydigita- lis.com!

The album will be release physically and digitally on the 19th of September 2014.

 Track listing:

1. Door of Mercy 
2. The Red Robe
3. TheWolf
4. Victory
5. Dogs
6. Sunrise with Sea Monsters 

7. Mother
8. Cold
9. The Perfect Dress
10.At the Very Heart of the Darkening of the Light 11.A Secret Ceremony
12.The Lit Light

Recording The Red Robe:

Recording The Red Robe by BABY FIRE from Lady Diabolita on Vimeo.

The Wolf by BABY FIRE from Lady Diabolita on Vimeo.


Thursday, September 11, 2014

ODG029 : Beaker / Beaker

ODG029 : Beaker / Beaker

Beaker, saxophonist Alec Harper and electronic musician Tyler Gilmore, is a cross-continental collaboration between two performer/composers steeped in 21st century chamber music, improvisation, and experimental electronic music.  This debut EP was assembled upon a series of textural improvisations. The duo found themselves shifting between complex drones and distortion-heavy beat tracks, and within this dynamic Beaker found it's sound; a combination of uniquely textural improvisation and beat-based composition.
Tyler Gilmore is a composer, electronic musician, and recording engineer. He has worked with Cuong Vu, Jenny Hval, Ted Reichman, Matt Wilson, Anthony Coleman, Ron Miles, Ken Filiano, John Fedchock, and many others. He has recorded two albums with his ensemble Ninth and Lincoln, including Static Line. In addition, he has composed for projects with Small Dream Ada, vocalist Clare WheelerBeaker, and Chav with Kevin Abdella. He won the 2009 ASCAP/Columbia College Commission in Honor of Hank Jones and won the ASCAP Young Jazz Composer’s Award in 2008, 2009, and 2010. His music has been reviewed in DownBeat and performed internationally by groups including Jon Faddis’s Chicago Jazz Ensemble, the New England Conservatory Jazz Composer’s Orchestra, Bobby Watson and The UMKC Concert Jazz Ensemble, The University of Northern Colorado Jazz Band I, The Playground Ensemble, The Henry Mancini Institute Overture Orchestra, and others. His work is published by UNC Jazz Press and Minor Ninth Music. Tyler grew up in rural Wyoming, attended the University of Northern Colorado and the New England Conservatory, and is now based in Brooklyn, NY.
Alec Harper is a freelance saxophonist and teacher based in London. He graduated in 2012 with a First Class BMus (Hons) in Jazz Performance from the Guildhall School of Music and Drama (London). Alec recently returned from Boston USA where he spent a year studying at New England Conservatory. Alec's teachers include Jerry Bergonzi, Donny McCaslin, Jason Moran, Stan Sulzman and Mark Hanslip. Alec has been involved in the London jazz scene for some years now, performing with his own quartet and as a sideman at many venues including The Vortex, The Spice Of Life, Charlie Wrights and Olivers Jazz Bar. He also had extensive performance experience at Guildhall, including slots in the London Jazz Festival with the Guildhall Big Band, and concerts with the Southbank Sinfonia.

Digital release only on the 12th of September 2014.

Track listing:

1: Improv 1
2: Improv 2
3: Song 1
4: Improv 3
5: Song 2
6: Improv 4
7: Song 1.5
8: Improv 5

A nice video from Song 2:

Thursday, September 4, 2014

OCD019 - ODG028 : Hanami Quartet / Hanami Quartet

OCD019 - ODG028 : Hanami Quartet / Hanami Quartet

Hanami quartet includes Andrew Trim and Charles Rumback who already have released the marvelous album ' Look at Me, So I Can Get Close To you' (here).

The Hanami Quartet is the brainchild of Chicago guitarist Andrew Trim. Second boy from the right on the cover, he spent his childhood in Japan for a while and developed a love for the country.
Collaborating with Chicago saxophonist and clarinetist Mai Sugimoto, the two have been cultivating their mutual Japanese roots and infusing their favorite Japanese folk, classical, pop, and children's music with improvisation and deconstruction to draw out an extremely personal sonic experience and breath new life into a wide range of Japanese music, both old and new. 
The band features some of the young veterans of Chicago's improvising scene including Jason Stein (Locksmith Isidore) and Charles Rumback (Colorlist).

A nice review in the Chicago Reader here :

Guitarist Andrew Trim and reedist Mai Sugimoto live in Chicago now, but they both spent parts of their childhoods in Japan. Following the disastrous Tohoku tsunami in 2011, they put together Hanami Quartet (with bass clarinetist Jason Stein and drummer Charles Rumback), intending to raise funds for Japan’s recovery with a one-off benefit concert. But they were so happy with that performance that they kept the project alive, and this weekend they celebrate the release of the band’s self-titled debut on Off Records. For their repertoire, Trim and Sugimoto turned to the melodies they grew up with in Japan—children’s songs, Japanese classical music, and pop tunes made famous by Kyu Sakamoto. Some of them sounded familiar to me too, and after Trim provided some background, I realized that the 1961 Sakamoto smash “Ue o Muite Aruko” had become a top-ten hit in the U.S. after A Taste of Honey released it as “Sukiyaki” in 1981. The charged performances, which exploit contrasts between the instrumentalists (soft and loud, smooth and rough), create a tension that counterbalances the frequent sentimentality of the melodies. Rumback reveals the influence of Paul Motian more explicitly than usual, bringing a rumbling bottom end to his playing, and Stein and Sugimoto’s intertwined lines toy with a delicious sour-sweet dichotomy. Trim’s lovely underwater guitar tone softens the edges of his lines but retains a gentle bite, and he juggles two roles, sometimes playing harmonies and sometimes bass lines. He also solos occasionally, as does Stein—but where the guitarist is tender and lyrical, the bass clarinetist is biting and furious, especially on “Sakura Sakura,” where the group all but abandons the safety net of chords and keys to give him free rein. —Peter Margasak

Released physically and digitally on the 5th of September 2014.

Track listing:
1. Haru No Umi (Traditional Japanese classical piece for shakuhachi and koto)
2. Koi Nobori (Japanese children's song about carp streamers)
3. Miagete Goran, Yoru No Hoshi Wo (Japanese pop hit made famous by Kyu Sakamoto)
4. Sakura Sakura (Traditional Japanese song about cherry blossoms)
5. Cloud's Theme (One of Nobuo's pieces from FFVII)
6. Ue O Muite Aruko/Sukiyaki (Another Japanese pop hit made famous by Kyu Sakamoto)
7. Aka Tombo/Yuuyake Koyake (Medley of two Japanese children's songs - one about the red dragonfly and one about dusk)


Thursday, August 28, 2014

OVD007 : Pierre Vervloesem, John Litton Baroï - Zala Zala (Remastered)

OVD007 : Pierre Vervloesem, John Litton Baroï - Zala Zala (Remastered)

Fourth in a chronological series of 11 digital only remastered releases (6 solo (5 augmented with bonuses, lives and remixes), 1 duo, 1 unreleased duo and 3 pots-pourris (with absolutely every tunes possible ever recorded by Pierre and never released)) and coming at the pace of one every month is the fabulous first duo album from Pierre Vervloesem and John Litton Baroï: Zala Zala (2001).

In 2001, Pierre Vervloesem (bio) met John Litton Baroï (bio) in Brussels. 
John, a Bengladesh native, started to study singing when he was 8 years old under the monitoring of Indian singer Bobech Chaterjee. He also learned to play the traditional Indian harmonium to go along with his singing.
John played with quite an impressive amount of musicians in Bengladesh before immigrating in Europe in the beginning of the 90ties. 
John started then to play with various jazz ensemble, trying to modernize his playing and also trying to bring back the traditionally Bengali folk music.
This was precisely the perfect time to meet Pierre. 
The result: Zala Zala, an album that mixes with subtlety west and east instruments, modern beats and tradition, pulse and emotion, never loosing his Asian roots.

John Litton Baroï: Vocals, Keyboards, Harmonium, Accoustic guitar (1) 
Pierre Vervloesem: Guitar, Bass, Programming 
Sandip Bhattacharya: Tablas (1-2-5-6-8) 
Peter Vandenberghe: Keyboards (1-6-9) 
Didier Fontaine: V-Drums (4) 

All songs written and composed by John Litton Baroï 
All arrangements  and producing by Pierre Vervloesem 
What the BBC wrote at the time, considering Zala Zala as one of the best world record of 2001:

"Before you know it you've played it five times in a row and have started scouring the..."
Chris Jones 2002
"Every once in a while an album comes along which, while never destined to change the course of musical history or cause a furore in the press, crawls softly into your heart to nestle there like a treasured teddy bear. You play it once and it's inoffensive at best. You play it twice and you begin sway as an irresistibly "warm vibe" begins to fill you. Before you know it you've played it five times in a row and have started scouring the sleevenotes for any kind of clue as to who's managed to effortlessly steal your soul. Which is where Zala Zala falls down. Unless you're a student of Belgian avant prog or know your Bangladeshi singers off by heart you'll be hard-pressed to glean much about this sly little beauty. Enlightenment was ever a hard road to travel.
Pierre Vervloesem, as you all no doubt know, is a Belgian guitarist of some note (probably an E flat, heh heh) whose previous work with prog jazz noiseniks X-Legged Sally was always a little more challenging than the stuff on offer here. Lifted by a rhythm section that provides what can only be described as a kind of world-dub fusion, Baroi's astoundingly expressive vocals and Vervloesm's genre-straddling guitar are coaxed to ecstatic heights. It matters not one jot that vocals are delivered in Baroi's native tongue. The emotional impact is conveyed by context and dynamic, which veers from the lovelorn plea of "Tor Hashite (Will Sing In Melody)" with its stately pace and Fripp-like sustain, to the optimistic electronic ethno-funk of "Aei Kotha (My Last Words)". While remaining true to its Asian roots this album never strays too far from a contemporary breakbeat or pulsing dancefloor vibe, giving it a perfect balance between east and west that welcomes all listeners. You too, dear listener, will come to love it as a friend."

Digital release only on the first of September 2014.

Original cover:

                                                         cover art by Els Van Hemelrijk

Track listing: all tracks have been remastered

1: Teer Nai Tore
2: Tor Hashite
3: Kal Gelo
4: Pothiker Vhari Bozha
5: Talee Talee
6: Tor Khota
7: Zala Zala
8: Prethibee Prethibee
9: Aei Khota

Tuesday, August 26, 2014

Himiko video ( previously known as SLuG ) live at the Triton:

A wonderful version of 'Like A Friend' live at the Triton, Paris, 27/06/2014!
Time to rediscover, listen, download or buy their fantastic first album: SLuG

Saturday, August 23, 2014

ORT009 : Marc Ducret - Teun Verbruggen - Nate Wooley / The Evil Art Contest

ORT009 : Marc Ducret - Teun Verbruggen - Nate Wooley / The Evil Art Contest :

Reuniting half of the BOAT members project, The Evil Art Contest sees Marc, Teun and Nate going a bit further in their improvisations. 
It's amazing since every track seems like they were carefully writen before. The confrontations between the guitar of Marc, the trumpet of Nate and the drumming of Teun never sounded better... Impro at her best ever!

Teun Verbruggen: drums & electronics
Marc Ducret: guitar
Nate Wooley: trumpet

Recorded at Sunny Side Inc Studio's , Anderlecht - Nicolas Lefèvre, april 2013.
All music is free improvised. Mixed and mastered - Richard Comte, november 2013. Produced by Teun verbruggen and Richard Comte. Artwork and graphic concept - Vincent Fortemps & FXT.

The album (RAT024) is already released and on sale on the Rat records website HERE
Digital release on Off on the 25th of August 2014.

Track listing:

1. Shanna the Fairy Queen
2. Commission BlitzPonX
3. If I loose it's all your Fault
4. Size M. Dump
5. If you see any errors please inform me
6. Watersoup
7. Ruby Rose
8. My Flexible Friend (homage for mastercard)

Sunday, August 17, 2014

ODG027 : Robert Edwin / Telewaves ( Messy Waves and Teleport Albums & Bonuses )

Covert art by Robert Edwin

 ODG027 : Robert Edwin / Telewaves ( Messy Waves and Teleport Albums & Bonuses ) :

"The first time I encountered Robert via My Space, I remember starting to jump on my chair and go crazy for the next three minutes! Then I relaxed and started to listen carefully to his amazing music and discovered more than just a few beats. Every time I felt a bit blue, I played his energetic music which gave me the punch I needed to enjoy the rest of the day.
One could relate to his music as Godzilla meeting a punk band playing Yellow Magic Orchestra music at full speed, thought on his second album, Robert started to enjoy playing more lazy beats and chill out music. 
The O.V. N. I. bonus track on cd1 is still part of his first crazy beats, while the 4 bonus tracks on cd2 were written specially for this compilation and are a reflection of his late mood.
Tetsuya Owagaya aka Robert Edwin (a combination of the names of his two beloved tortoises) is now more into drawings and creating various objects.
I thought it was time to rediscover this fabulous artist and friend!" - Alinovsky, August 2014.  

 Original covert art for OCD008 : Messy Waves :

Original covert art for ODG006 : Teleport :

"Robert Edwin was born in Shizuoka, Japan at the end of 1973, and has lived in that area for most of his adult life. His first introduction to music came at the age of 5, when he was encouraged by his parents to take up piano lessons. Although a skilled pupil, the piano was not where his musical interests would ultimately lay. He played until the age of 9, and then took a hiatus from this particular instrument. However the exposure and training that he received during this time grew inside his mind until the age of 17, when he bought his first electric guitar. Inspired by the artists seen on MTV rather than the music that was being enjoyed locally, Robert began to develop the keen and unique musical vision that was soon to be his. When one hears a Robert Edwin song, the first thing that comes to mind is the individuality that is present in the music. It is not the same old repetitive rehashing of old ideas that is so often heard these days. It is the creative work of someone who truly understands what music should be all about, and it is obvious that the music is coming from the soul of the musician, not just the hands or head. Although not a member of a band, Robert has undertaken many musical projects with several musicians throughout the world, and has an incredible ability to adapt his sound and ideas, to seamlessly blend his vision with those of others. Truly a one of a kind individual, who follows his musical inspiration wherever it leads, Robert Edwin is the kind of gifted artist that understands what music is supposed to be about. True feeling from the heart, translated into soul moving sounds. Robert achieves this and much more with his art." - written by 444.

Album Review for Messy Waves:

"Confusing" and "frantic" are not generally adjectives that figure prominently in a positive review, but they're attributes that work well to describe the really pretty engaging music of Japanese producer, composer, and multi-instrumentalist Robert Edwin. This is his first full-length release, and you can tell it's the work of a singles artist: stylistically it's all over the map, the common feature that binds the tracks together being a sort of all-purpose sonic adventurousness that leads him equally willingly into house, punk, hip-hop, prog rock, and avant pop territories. Not everything is brilliant, but the high points are seriously impressive: the claustrophobic "From Moomin Valley," which sounds like a collaboration between John Zorn and Birdsongs of the Mesozoic; the startlingly tuneful and fun "My World"; the hip-hoppy "One" and "Tisei"; the frenetic "Shake on It." The less successful moments vary in quality from slightly tedious ("Out of Body Experience") to rather wanky and self-indulgent (the unforgivably proggy "Spot On"), but even when he fails he generally does so in ways that are genuinely interesting to hear.

Les amateurs de télescopages musicaux notoires devraient apprécier ce Messy
Waves où perlent gouttes de sueur trance/dub ("Pink disc chick"), électronica
foutraque ("Love is peace"), pop expérimentale ("My world"), hip-hop ("One"),
néo-jazz rock ("Myspace addiction", "Shake on it"), et pas mal d’ovnis plus ou
moins chantés/parlés en arrière-fond, comme ce "Hatsukura ni hastsukura",
détournement probable d’un hymne pop/métal nippon. Auteur de ce forfait, le
japonais Robert Edwin parvient à distiller sa musique à partir d’un bric-à-brac de
sons et d’influences, et aussi d’un certain sens des arrangements, souvent assez
soigné (le monsieur serait-il un fan qui s’ignore du Yellow Magic Orchestra et de
Cornelius). Inutile de dire que ça part dans tous les sens, à tel point que s’il
décidait de mettre un peu de breakcore dans son panier, on verrait bien les sbires
de labels comme Daly City se lancer sur ses trousses.

Other covers that were considered  for Telewaves (all drawings by Robert) :

and a bit more of his present work of art:

Robert Edwin

Digital only release on the 18th of August at the price of a single album.

Track listing :

1: Teck nock 3
2: My World
3: Pink Disk Chick
4: From Moomin Valley
5: Spot On
6: Space Tamachans
7: One
8: Teisei
9: Shake on it
10: Out of Body EXperience
11: O.V.N.I. ( Bonus track )

1: The River Was Empty
2: Carnival
3: Sky
4: Let Me Sleep Tonight
5: Deep Cyan
6: Kawa
7: Pole Shift ( Bonus track )
8: Multi Aid ( Bonus track )
9: Cold Space ( Bonus track )
10: Morning Ocean ( Bonus track )

This is an edit of a track from the second album of Robert Edwin ' Teleport':