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neumu
Wednesday, October 1, 2014 
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+ Donato Wharton - Body Isolations
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+ Jarvis Cocker - The Jarvis Cocker Record
+ Múm - Peel Session
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+ Badly Drawn Boy - Born In The U.K.
+ The Hold Steady - Boys And Girls Together
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+ The Decemberists - The Crane Wife
+ Junior Boys - So This Is Goodbye
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+ Rafael Toral - Space
+ Bob Dylan - Modern Times
+ Excepter - Alternation
+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
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+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
+ Carla Bozulich - Evangelista
+ Barbara Morgenstern - The Grass Is Always Greener
+ Robin Guthrie - Continental
+ Peaches - Impeach My Bush
+ Oakley Hall - Second Guessing
+ Klee - Honeysuckle
+ The Court & Spark - Hearts
+ TV On The Radio - Return To Cookie Mountain
+ Awesome Color - Awesome Color
+ Jenny Wilson - Love And Youth
+ Asobi Seksu - Citrus
+ Marsen Jules - Les Fleurs
+ The Moore Brothers - Murdered By The Moore Brothers
+ Regina Spektor - Begin To Hope
+ The 1900s - Plume Delivery EP
+ Alejandro Escovedo - The Boxing Mirror
+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
+ Loscil - Plume
+ Boris - Pink
+ Deadboy And The Elephantmen - We Are Night Sky
+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
+ The Red Krayola - Introduction
+ Metal Hearts - Socialize
+ American Princes - Less And Less
+ Sondre Lerche And The Faces Down Quartet - Duper Sessions
+ Supersilent - 7
+ Band Of Horses - Everything All The Time
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+ Red Carpet - The Noise Of Red Carpet
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Antipop Consortium
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Antipop Vs. Matthew Shipp
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With the fate of jazz hanging in a delicate balance, Antipop Consortium and Matthew Shipp imagine a new experimental future that is at once a return to jazz's rich traditions and a radical departure into untrodden sonic terrain. Drawing notions of rhythm, tonality and structure akin to the work of avant-garde greats Roscoe Mitchell, Sun Ra and Kool Keith, Antipop vs. Matthew Shipp is an inventive, spaced-out fusion of classical free jazz and futuristic electro hip-hop. Alternating between chaos and order, the music takes the form of a collage, building to hypnotic heights of creativity. In this calculated disorder, the players freely move in and out of the listener's ear and their respective idioms. Antipop vs. Matthew Shipp succeeds in not only challenging the listener's preconceptions, but also suggesting a direction for others to follow.

Opening with the aptly titled "Places I've Never Been," Shipp draws the listener into a musical wilderness through a series of classical keystrokes. Joined several bars later by Antipop's polyrhythmic programming, the two quickly abandon jazz's main path and venture down an experimental side-road, driven by percussive piano comps and angular electro beats. Recalling the spatial free-jazz arrangements pioneered in the 1960s by the Art Ensemble of Chicago, Shipp and Antipop maintain an open form throughout A.V.M.S., allowing instrumental outgrowths to bridge the rhythmic gaps. Nowhere is this more evident than on the album's second cut, "Staph." Opening with a similarly classical piano progression, the track's steady rhythmic momentum is quickly disrupted and then reconfigured by a string of lethal poetics. Delivered in such a way as to emulate the flow of dueling horn solos, Antipop's stream-of-consciousness rhymes push and pull the beat along at variant speeds. "Desire is lighter than air, which violates laws of gravity with determination to rise/ But a desire never hits the market and nothing more than a souvenir/ Malfunction."

Other notable cuts include the mesmeric "SVP," in which Antipop and Shipp take a spectral piano riff and gradually build it into a towering bastion of sound. Also impressive is the primal "Monstro City," in which darting piano comps and organic programming effects snap and crackle around a steady lyrical heartbeat. "Few and far between/ The pain leaks from the drips in the ceiling/ Filling the buckets overflowing with self-pity/ What was I to ponder why/ Reasons are led hand in hand by the smoke of her cigarette/ Imparting ways like strokes in her hair/ Gentle against her cheek."

However, the album's high point is the riotous "Free Hop." Here, Shipp is joined by a skilled troupe of free jazz specialists (William Parker, bass; Guillermo E. Brown, drums; Khan Jamal, vibes; and Daniel Carter, trumpet) who cooperatively push one another well beyond any traditional threshold. Erupting into a cacophonous torrent of sound, "Free Hop" is an instrumental tour de force, proving that inspired free jazz is alive and well today.

Arriving at a time when jazz is in desperate need of any new creative direction, Antipop vs. Matthew Shipp is not only a welcomed arrival, but also a formative piece in the consistently evolving jazz-rap genre.


by John McCormack




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