Here are this year’s (disappointing, as usual) Bandcamp toppers of 2017. No Santiago Fradejas. No A.M. Ferrari-Fradejas. Nor Jeff Gburek. Nor Marco Lucchi. Nor Noël Akchoté. Nor so many other deserving artists who don’t offer up a plate of decent, non-offensive pseudo-soul, hip-hop or tacky dance music. Ah, well.
For your perusal, click on the links below. You WILL find some gems in here.
Audrey Fall are a post-rock, post-metal quartet out of Riga, Latvia. They produce a fine, powerful music and should be making a lot of worthwhile noise in the near future.
Arturo Stàlteri is a pianist who originally gained fame with the Italian progressive chamber rock group Pierrot Lunaire as a 15-year-old. He is still making magnificent music today, but this particular album is an album which was recorded in 1980 but shelved until today.
As far as I know, Rufus Harley is the ONLY jazz bagpiper, but I’d love to be proven wrong, as I have a fondness for both bagpipes and America’s finest genre of music.
Ashwanta Jackson of Atlas Obscura gives a nice portrait of Rufus Harley and his rather unique influence on jazz.
Bosnian-Dutch accordionist and composer Nihad Hrustanbegović takes on the Dave Brubeck standard and does justice to it.
I don’t like the term noir for music unless it fits in a film-like connotation, but there’s something pleasantly dark in this new release by Luís Lapa & Pé de Cabra, two Portuguese jazz heads. The Saul Bass-inspired cover art gives it away, I suppose, but the music is quite deep.
Gamardah Fungus are an experimental groups out of Dnipro, Ukraine, who build a lot of their own instruments. According to the band’s Bandcamp site, “The album was inspired by the spellbinding events, which happened to us in an old abandoned manor in Ukrainian forests.”
This is my first exposure to Gamardah Fungus. I look forward to hearing and sharing more in the future.
French electroacoustic composer and experimental music pioneer Pierre Henry left the world on July 5, 2017. Thanks to the Olivier Lamm and Sarah Bastin from Red Bull Music Academy Daily for reporting the potentially tragic loss of Henry’s massive archive if funding isn’t found to preserve his home.
It has been a joy to follow Umut Çağlar over the past few years. He’s released several albums under the banner of Konstrukt, but on this album, he collaborates with Sonic Youth guitarist Thurston Moore.
The first track, Kensaku, is the ‘quietest’ affair of this album. It buzzes and swells, with multi-instrumentalist Çağlar prods Moore into a drony improv which would have worked beautifully on an early Sonic Youth record (and which holds up rather well today in 2017).
The next two tracks, Red Sun and Echo (outro) go into the sort of monstrous territory that encapsulated the work of Japanese guitar legends like Keiji Haino’s power-trio Fushitsusha, or even the crunchy psychedelic haze of White Heaven.
I would love to see Konstrukt and Umut Çağlar collaborate more with American artists. He makes one hell of a sparring partner for anyone.
Yasmin Hannah King is a guitarist from Bath, England, who just released one of the best instrumental albums I’ve heard in a while, combining folk, post-rock and a type of ambient music into one shimmering package.
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