A Beginner’s Guide To Hard Hat Color Coding is a new project by BlindººCoyote, longstanding monicker of Drem Bruinsma, a Dutch-born composer now based in Alicante, Spain, whose work under this moniker reminds me of peak-period Cluster finding a bit of time to carouse with an early-wave Industrial band (think Cabaret Voltaire’s more daring experimental work than the dark funk they would produce during their heyday). It would make sense, as BlindººCoyote has been alive as a project since the early 1990s, and this particular sound to me is timeless. The project has been active (with some periods of non-activity) since its first 1993 release, Phantom Pain/Genkaku no Itami, a project which stemmed from a collaboration with legendary jazz fusion trumpeter Toshinori Kondo.
There’s something very kosmisch about this particular release, though it has flourishes of a cold, metallic bent. This floats surprisingly easily and envelops this listener into a dreamy, lulling feeling. There’s also a reminiscence of sounds made by such acts as BlindººCoyote’s one-time collaborators Tuxedomoon (he wrote scores for video, dance, theatre and collaborated with the individual members of Tuxedomoon, amongst others).
As a side note, and quite a tasty one, the first track on this EP, Chapter One: Red Hard Hat Area, will also appear on the compilation Radio Nautilus, released by No Records on June 1.
To explore more of BlindººCoyote’s works, visit his Bandcamp site here, and his Reverb Nation site here.
Thanks to Guy Segers for publishing this classic of Japanese progressive rock.
Bi Kyo Ran were rather unfairly tagged as a Japanese King Crimson clone. By this album, that image was finally shed.
They are apparently still active doing soundtracks for TV shows in Japan, but I can’t imagine any of the new material having the power of this disc.
It’s for albums like this that I have such a love of Bandcamp. This release originally came out in 1997, and was a collection of pieces of Soliman Gamil’s other records for the Touch Label. Though they would have made lovely soundtrack music, it’s more an exploration of and experimentation with Egyptian classical music. A well-done reissue by Mike Harding and Touch.
Kikagaku Moyo’s Stone Garden was one of my favorite releases of 2017. It’s a loud, heavy, psychedelic masterpiece in keeping with legendary bands like White Heaven or labels like P.S.F. Records.
The Ottoman History Podcast is among the most intriguing weekly (or so) listens I indulge in. In this particular episode, hosts Nir Shafir and Polina Ivanova discuss gardening with landscape architect Jan Haenraets about this history of the region’s famed gardens, the political implications of conservancy and so on.
It’s only about twelve minutes worth of audio recordings, but Sub Rosa Records has published two pieces of James Joyce reciting some of his works from between 1924-1929.
Sub Rosa released a compilation of Garifuna music recorded and produced by Juan Carlos Barrios (aka Radio Zumbido). It’s a wonderfully horn-and-lullaby laden compilation of wonderful music straddling between the Guatemalan border, Honduras, parts of Nicaragua and Belize, where African and indigenous cultures collide. Yet another stellar compilation.
Momo Wandel Soumah was a saxophonist and vocalist from Guinea who did a stunning job mixing jazz (especially that of the Charlie Parker and John Coltrane variety) with ethnic music from his region of the world. This session was recorded in 1991.
He passed away in 2003, but left this album as his legacy.
This disc was a wonderful find! Canturbe were an Argentian progressive rock band working out of Buenos Aires. Their sound is classic prog, but with touches of metal, folkloric music and even tango on one track. Argentine reissue specialists Viajero Inmovil have released another stunner.
The Gorehounds are, perhaps, Ireland’s finest rock band. No, U2 isn’t, sorry. They haven’t put out a great record since The Joshua Tree. These guys, rather, were a pure rock and roll band.