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Label: Tooled Up - UYA 001
Format: Vinyl, 12", 33 S! RPM
Country: UK
Released: 1995
Genre: Electronic
Style: Dub, Breaks, Minimal

Phobiza "Noite" Vol. 2 • RAMZi

Bandcamp 

 

 

 

 

 

 

Las/wɛl/ kuh m-plee-tist /ˈse·ries / ˈspɛʃ(ə)l wʌn

com·plet·ist

[kuh m-plee-tist]

a person who attempts to complete a collection or set,especially a collector who wants to collect an example of every item in a particular field:

 

 

Jean-Paul Bourelly and the Bluewave Bandits • Blackadellic-Blu

Re-up bandcamp

Blackadelic-Blu was conceived during a time when Jean-Paul Bourelly was throughly entrenched in an urban sound influenced by his clubs of downtown New York in the early 90's. It was a sound that merged Chicago blues roots with rap aesthetic.
Bourelly implements some of his favorite psychedelic colorations coupled with tight grooves heard on previous releases like Trippin and Saints and Sinners with a selection of songs that make the blues at home in this east cost urban context.

What comes out is an omni force in Black music. Bourelly's penchant for walking the tight rope between established genre's are eclipse only by his ability to transform what starts as a tight musical premise into something wide and original.
"Steppin on the Giant" a song of defiance about facing the challenges of finding ones way as the corporate monster looms, is a great example of jazzy funk that on further reflection is quite something "other": "as I walk through that cold New York city street, I'll be steppin on the giants feet" goes one phrase. "Thinkin bout money" with its dusty, echoey guitar and "Travelin Across the Land" (produced by Djinji Brown ) feature rapper Asheru of the Unspoken Heard appearing on Blackadelica as Blue Black. His confident, matter of fact delivery of the text complete this other worldly urban package.

Bourelly's guitar does unleash more of his virtuoso-ish fire power on track like "Restless Wave" which ends in an eerie sanctified vamp out reminiscent of another favorite blues with a cathartic swell, Blues for Muddy (Saints and Sinners DIW 1993)

Jean-Paul Bourelly Bandcamp

 

Jean-Paul Bourelly
  guitar, vocals, subatomic guitar bass, keyboard bass
"Kundalini" Mark Batson • keyboards, vocals
Blue Black • rap
Carl Bourelly • programming, keyboards
John Stubblefield • tenor saxophone
Mark Peterson • bass
Alfredo Alias • drums, back vocals
Kevin "K-Dog" Johnson • drums
Djinji Brown • sample programming

That UK Sound • Roots Of UK Jungle

Nihiloxica • Kaloli

Kaloli is the debut full-length LP from Kampala’s darkest electro-percussion group Nihiloxica on cult Belgian label Crammed Discs. The album marries the propulsive Ugandan percussion of the Nilotika Cultural Ensemble with technoid analog synth lines and hybrid kit playing from the UK’s pq and Spooky-J. The result is something otherworldly. Kaloli journeys through the uncharted space between two cultures of dance music, where the expression of traditional elements mutates into something more sinister and nihilistic.

N I H I L O X I C A

Jah Wobble The seeking path by Anil Prasad

Photo: John Hollingsworth

There’s virtually no context Jah Wobble hasn’t explored with dub bass. Whether it’s punk, jazz, electronica, Middle Eastern, African, Celtic, Chinese, Japanese, industrial, or avant-garde realms, he’s figured out a way to make it work seamlessly and imaginatively. The British multi-instrumentalist and composer has built his career on defying expectations and taking chances. His prolific and diverse discography of dozens of albums serves as a testament to his drive to keep learning, evolving and morphing.
In just the last 18 months, Wobble has put out four albums, two EPs and many singles. Two of those releases, Ocean Blue Waves and Realm of Spells, were made with his multi-decade group Invaders of the Heart. He first formed the band in 1982 as a way of bridging the worlds of dub, world fusion, jazz, rock, and pop. Ocean Blue Waves is its tenth album.
Realm of Spells finds the band collaborating with bassist and producer Bill Laswell, who Wobble has worked with on several projects, previously. The album was inspired by Wobble and Laswell’s shared interest in Miles Davis’ Dark Magus period, during which the jazz legend was performing his most experimental, rhythm-based music...

Read the full interview  

HERE




 

Down The Line 'Lock Down Special' (Part 1)

Jon Hassell • Seeing Through Sound (Pentimento Volume Two)

“Listen as if you were being told a secret” - Federico Fellini

A companion piece to 2018’s Listening To Pictures, this second volume in the pentimento series presents eight new tracks by the music visionary, continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing. Pentimento is defined as the “reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over” and this is evident in the innovative production style that ‘paints with sound’ using overlapping nuances to create an undefinable and intoxicating new palette.

In classic Hassell fashion, the title can be interpreted in a myriad of ways, but perhaps the most pertinent at the moment is the human instinct to sing and play through a rain of difficulties. A future blues of indeterminate and ever-shifting shape. The album is buffered by two 8-minute plus epics at the beginning and the end - the hypnotic “Fearless” with it’s metronomic, almost Can-like rhythm, and blurry, noir-ish texture of sound emerging like car headlights from the fog; mirrored at the end of the record by the beautiful sci-fi lullaby of “Timeless”, a track with a gaseous, billowing quality as electronic clicks and bubbles float over a landscape of shimmering, glacially paced complexity. The bridge between those two worlds is no less compelling, from the frantic, spidery IDM sketch of “Reykjavik” to the collapsed-time ballad of “Unknown Wish”. Whilst containing seeds of classic ‘fourth world’ fusion, this record finds the artist still questing to create new forms and mutations of music, a thrilling window into what music could sound like in a world to come.  

Jon Hassell

 releases July 24, 2020