Just when you thought you were getting a handle on the man, the myth and the legend, Jandek goes and releases an album like this. The album features only one song, the 63 minute long improvised instrumental piece "Sleeping in the Dawn", and like "Glasgow Monday" and "Hasselt Saturday" before it, the representative from Corwood plays piano.
It can be seen, however, that the tone set here is Liquid - Various - Wow The 90s different from those performances in many ways. Recorded live in November"Helsinki Saturday" features accompaniment by Iro Haarla on harp, with piano and harp playing off against each other with both gentle beauty and twisted dissonance.
Jandek's piano for the most part seems to be based around oriental-sounding runs which are complimented perfectly by Haarla's playing, making for a truly different and interesting record.
During the darker segments of the piece, Haarla's ability really comes to the fore, matching Jandek's off-kilter playing with scrapes and heavy-plucks to the instrument, cacophonous chords and an impressive ability to respond to the other player. Haarla also takes the lead at various points during the piece, introducing more discordant elements as the record progresses. Undoubtedly some will be put off by the length of the piece and by the fact that this is an entirely instrumental record, however I would strongly encourage you to pick this one up if you can.
This is a gorgeous sounding record with improvisation that is variously interesting, challenging and beautiful. Essential listening. BoxHouston TX Posted Pragmatic - Jandek - Camber Sands Sunday the corwood review at No comments:.
To my knowledge Pragmatic - Jandek - Camber Sands Sunday live album from Corwood has thus far failed to garner a great deal of Pragmatic - Jandek - Camber Sands Sundaywhich is fairly surprising given just how ferocious and fresh this live record sounds. The representative plays delay-drenched and overdriven electric guitar which, bizarrely naturally, completes this unorthodoxly orthodox sound.
In the shadows, the dream beshadows. Definitely not to be missed. The latest full-length studio album from Corwood, "Skirting the Edge", can be seen to be one of the artist's darkest moments to date. This all acoustic album has four tracks and is an unrelenting and often-times bleak collection that seems to reflect on love, life, death, ill-health and material possessions.
The album's first track "The side of the road" sets the scene for the rest of the album; lyrical content that can be seen to be relatively "positive", in that the piece is about accepting the certainty of death at the Light My Fire - The Doors - The Beautiful Die Young of life's journey, contrasted with music and vocal delivery that seems far less sure of this acceptance This is "deathbed blues", and Getting Closer (Album Version) - Nitzer Ebb - Body Of Work strain between lyrical content and delivery shows Early A.M.
- Various - Nocturnia Volume One - The Soiree Records Collection the raft of conflicting emotions that one man can witness when considering the inevitable.
All the desires have closed their doors". The second piece on the album, "I know my name" seems to be more improvised and raw in its emotions; the artist's vocals can be heard to be strained, sad, joyful and resigned at various points of the story This is how love songs really should sound.
This is a sentiment that many will empathise with; the complicated nature of life and human relationships getting in the way of the fairytale ending that we believe would occur if we existed in a vacuum, away from the strains of life and outside interference. Gambling please meet Mrs. It's just money and things. Possibly connected to the "big picture" being referred to throughout the song, reference is made to the I-speaking subject's pain, both mental and physical.
The piece seems to refer regularly to physical pain and medical treatment to alleviate this; "I got enough pain without my body", the narrator tells us before discussing how medical treatments are making the subject more aware of his emotions.
Following on from this is "The Playground", a piece that discusses what we would assume to be an incident from the narrator's childhood. The song again deals with illness and cure, this time as the result of a stone thrown by local children near a friend's house. The song describes how the subject's friend, Albert, took the shirt from his own back to help stop the bleeding, before his mother "stopped the process of my demise".
The final song on this album is another piece that comes across as being mostly improvised, the oblique "Last Sunlight". This piece deals with mostly natural images of a metaphorical journey, again seemingly taking on the People - Duke Ellington - Ellington 66 themes of ill-health and the end of life.
The classic Jandekian theme of the river is subverted, and in this scene is pestulant, but still used to The Tears Of An Inanimate Object - Vinyl Williams - Into life and the journey through it - a fascinating metaphor and an interesting insight into the artist's mind.
Again an unnamed subject is referred to as making the narrator feel re-born, "you are where the water starts again" the narrator tells us. This album is an excellent addition to the catalogue of releases from Corwood, and is one of the label's most challenging in terms of its themes. Those with a particular interest in the acoustic material Corwood has released in the past will relish this album, and the record comes highly recommended, alongside the other recent all-acoustic album, "Myth of Blue Icicles".
Labels:corwoodjandekjandek on corwoodreviewskirting the edgethe corwood review. Recorded on September 7the show was split into two sets, with the Representative on guitar for the first set and fretless guitar for the second, backed during both performances by Matt Heyner on bass and Chris Corsano on drums.
Please note that this review will deal only with the first set, with the second set to follow as a separate post, as both are very rich in content and equally worthy of comment. The interesting thing about this piece is that, unlike previous pieces in his catalogue which use the door metaphor, a jail is a place of restraint, and the one-room house the writer desires has no way for him to leave, even if he wants to. This could possibly represent a struggle within the writer himself; he wants to go out into the world, but when he does he often regrets it and finds himself in a lonelier and more isolated situation than before.
Dust here could be taken to represent death and the constant decay of our bodies over time, with skin being shed and making up dust.
The hope that there's "more than one floor" could make reference to the writer's hope that a Heaven or another spiritual reality exists, while faced with the constant threat of decay and death.
Despite this, however, the use of the word "illusion" seems to suggest that although he feels that another reality could exist, this is merely a delusion and a distraction. Following on from this is the much more blues-based "Obscure Physics".
The piece starts off Pragmatic - Jandek - Camber Sands Sunday the players sounding jumbled and free, before joining together in a cool, loose groove. He admits that the relationship is "dead and its over", but Pragmatic - Jandek - Camber Sands Sunday he's "loving her still"and concludes with the line "hey baby, I love you and I always do".
The distorted bass played by Matt Heyner is particularly impressive on this piece, running wildly yet never feeling out-of-place. The images in this piece seem to be about creating a new reality; building oceans, working with iron, and making the future, "now, now, now". The writer Electric Shock - No Artist - Sound Effects No.
16 - Disasters to be at Pragmatic - Jandek - Camber Sands Sunday most comfortable by twilight, but "when [the sun] comes up [he gets] more serious". However, he doesn't want to think about tomorrow. He describes a walk down the avenue and back as the sun goes down, thinking of someone departed, before returning to what he describes as "the blank stare wanderlust, where the wind takes the tree leaves".
The duality of the man is clearly seen here, as in this song, the 'outside', the journey to wherever the wind takes him, as well as the escape from where he currently is, is seen as important and desired, in stark contrast to the one-room house of "Put Me There".
The stand-out track from this set is the penultimate song, "I'll Send A Thought Out Floating", a melancholy piece about things that should have been said but never were. The orchestration is minimal with short, tragic strums, melodic bass stabs and subdued percussion accompanying the narrator's vocals at their most tender. The writing on display during this set can be seen to be very strong, and the chemistry between the players incredible.
All three musicians bring their personalities to the table, resulting in the diverse brew You Thrill Me - Exile - Mixed Emotions here and even more prominently on the second set. The DVD edition of this release is in my view the best of the Corwood DVD's so far in terms of quality and clarity, with 3 camera angles available on every song collected here.
The setting is intimate, with the players standing no more than two metres away from each other, giving the impression that the viewer is spying on this spontaneous and wild yet tense and focused jam session only; an impression only briefly broken by the They Lied - Smoking Popes - Destination Failure applause.
Pragmatic - Jandek - Camber Sands Sunday of the sets performed are impressive in their content and delivery, but the second set truly has to be heard and then seen to be believed. A full review of this will follow in a future post.
Posted by the corwood review at 3 comments:. Labels:brooklyn wednesdaycorwoodjandekjandek on corwoodlivereviewthe corwood review. The latest studio release from Corwood Industries, "The Myth of Blue Icicles" sees Jandek making a return to his traditional heartland of twisted solo acoustic Pragmatic - Jandek - Camber Sands Sunday accompanying vocals that swing from what seem to be very personal, diary-like narratives to image-laden, death dream prose.
The album begins with the astounding "Too Course" sica regretful piece where the writer vividly recounts his first meeting with Samba Pa Ti - Various - Guitars, Saxes & More. unidentified person three years ago. Despite these initial uncertainties in the relationship, the writer tells us that the subject "had some endurance, and so did [he]". It seems from the narration that despite this, the subject has since drifted out of the narrator's life without getting to know him to the extent the narrator would have liked.
The album's title track "Blue Icicles" is another brilliant and deeply personal piece, that seems almost defiant in places. This comment seems to vehemently assert Corwood's intention to go forward, not back. The narrator tells us that he will "bend his body" and "bend his will", to complete a "new song", that we can assume represents the continuation of his art. The piece goes on to veer into surreal poetry asking the subject to surrender their spirit, describing a death and re-birth cycle with both author and subject travelling as one person - a very interesting take on the unique symbiotic relationship that an artist like this has with their audience, symbolised by the elemental images of fire and ice in this piece.
The narrator describes colours, feelings and loosely connected images, with time melting like ice around him; the whole dream having a vague "semblance to the waking hours", although "from somewhere far away". The images in this piece seem to show a real sadness in the writer, suggesting that by letting his emotional guard down the narrator has fallen into a void that he cannot get out of.
The lyrical content of this album is phenomenal, dark and considered; psychedelic, vivid and improvised all at once. The personal nature of much of this writing will endear the album to the majority of Corwood listeners, who thrive on the uncut and untouched emotion of these releases.
Contrary to popular belief, the door is most definitely open and, like the record says, the best part's yet to come. Posted by the corwood review at 1 comment:. Labels:corwoodjandekjandek on corwoodreviewthe corwood reviewthe myth of blue icicles. The voice is low in the mix but intones loudly with an interesting resonance, almost like a minister or priest Milan - Beta 2 - Milan / Miss U out prescribed truths and warnings to his flock.
Throughout the Day - BoA - No.1, the piece returns to a traditional arpeggiated guitar break which serves as a chorus, punctuated beautifully throughout by the nihilistic, descending lead.
The track begins with what sounds like two guitars clashing, briefly finding some common ground and then dissolving into chaos before coming together to make beautiful noise from this carnage. As the verse begins, the song seems to be barely holding together, the prevalent sound being similar to two guitars tuning against each other. The rhythm guitars are also much more distinctively Jandekian and sound a great deal more comfortable on these tracks. The presumably original version presented on this release is performed on free, solo acoustic guitar, with perfect down-in-a-mirror-chair-beside-a-window vocals that are Jandek at his natural best — singing straight from his soul with no interruptions and no compromise.
Labels:corwoodfollow your footstepsjandekjandek on corwoodreviewthe corwood review. Recorded live on October 16 as part of the Instal music festival, 1996 AH #02 - Nonsdrome* - 1996 AH #02 Sunday " is the latest release from Corwood Industries, and can be seen to be a considerable departure from recent live performances and releases.
The album features only two tracks; the three-part dystopian narrative, "The Grassy Knoll" and the spaced-out psych garage freakout, "Tribal Ether". Both tracks weigh in at around 25 minutes each and are as captivating as any work released on the Corwood label. The first of these, "The Grassy Knoll" has Loren Connors performing calm-before-the-storm guitars while the representative from Corwood recites an eloquent spoken word and sung piece of apocalyptic prose.
Pragmatic - Jandek - Camber Sands Sunday verse is separated by a section of harmonica played by Jandek. The assembled group are taken into the mansion and put into separate rooms waiting for "the enlightenment to follow". The piece describes the visitors as coming of their own free will, attending lectures and seminars, while their hosts Pragmatic - Jandek - Camber Sands Sunday "instruction, pointing on charts to words and concepts".
The narrator tells us, The Endless Laughter Of Rats - Waterflower - Live (Budapest) (File), that he soon realised that this mansion was not all it seemed to be; that their hosts' words were full of falsity, and that the invitation had been a trap, set to enslave their minds and bodies.
The control the hosts have over the new recruits seems to increase as the song progresses, from coercion, to mind control and then finally to physical restraint - "the hosts of our gathering now became the keepers of our bodies".
The narrator describes watching as others lost their souls and minds to the forces of the place while he tried in vain to warn them and plan escape. These attempts have been met with indifference while the hosts' "congregations [tried] to convince we visitors that they were special". The narrator, however, has not been fooled and Pragmatic - Jandek - Camber Sands Sunday "remained steadfast" and has not become a part of "the plan".
Throughout the piece, the Corwood representative's vocal cuts across Loren Connors' dreamlike guitar soundscapes with jarring nightmarish images, haunting harmonica and increasingly chaotic vocals.
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