Florian Arbenz advised me several months ago that this album was coming down the pipe, and after hearing some tracks he kindly provided, I was pretty excited to hear what he and American saxophonist Greg Osby were up to. As it stands, the two have been working together off and on for well over two decades, and you can hear it in the flow of this album. What I did not expect, however, and what made for a very pleasant surprise, was the collaboration with artist Stephan Spicher, who is credited on the album cover, but you really need to see the videos (a sample can be seen here) to appreciate his contribution to the album. I expected to hear Osby and Arbenz work seamlessly together, and I wasn’t disappointed. The album does not have an overwhelming, “crowded” sound that some jazz albums to. The musicians give each other plenty of space to let themselves roam, never straying too far from the center, but giving a feeling of a pleasant wander in the park.
As far as contemporary jazz goes, this album has been the best, for my ears, that I’ve heard in 2020. It’s worth picking up.
Joachim Spieth has has a fairly long and storied career as a musician and impresario of one of the best and bleakest of ambient record labels going today, Affin Ltd. Take my word for it: bleak, in this case, is a compliment.
There will be no Bandcamp samples or vinyl releases of this album until sometime in March of 2020, but if you hear the sound samples posted below on Joachim’s SoundCloud account, you will listen to a booming (at least on these speakers), resonant sound that gives you the feeling of being immersed in an ocean the size and power of the one seen in Andrei Tarkovsky’s masterpiece, Solaris.
There are elements of Kosmische Musik, techno at is warmest, and a hint of darkness which reminded me of the best of albums produced by Cold Meat Industry in the 1990s.
PLAYLIST Dominic Valvona/Brian Shea/Matt Oliver The behemoth Quarterly Playlist Revue is now more! With a massive increase in submissions month-on-month, we’ve decided to go monthly in 2020. The February playlist carries on from where the popular quarterly left off; picking out the choice tracks that represent the Monolith Cocktail’s eclectic output. New releases and the […]
Source: Musique Machine. Pita – Get On Viv Corringham – On the Hour in the Woods The Residents – Refused Hula – Shadowland Yann Novak – Slowly Dismantling Transtilla – Transtilla II Uno Actu – Splendeurs Putrides Sabotheur – Self Titled The Telescopes – Stone Tape
It’s albums like this that keep me attracted to what is happening in post-rock. I’m no expert, and won’t ever claim to be, but there is something pleasant about not only the guitars on this album, but the bass work, which really stands out on the first track. The vocals on the album do yeoman’s work complementing the instrumentation.
From Gregor himself:
Choirgiant is the project of Gregor Graham, a Scottish musician now based in Ontario, Canada. Following his time as a member of Edinburgh-based post-rock bands Penguins Kill Polar Bears and We, he was left with ideas to be explored. These ideas would soon become Choirgiant.
Judging by the tags listed on this rather charming EP, I would have thought that this music is meant for the dance floor. It is, actually. It’s just the sort of thing you would want to listen to after a night of pounding noise and stomping around in your best shoes. With this release, BlankFor.ms lets you lilt gently into a relaxed phase, ending your evening on an exalted note. There is a cracked, crunchy beauty to this album. I look forward to exploring the band further.