Our old blog friend István Csarnogurszky of Silent Island (and so many other stellar projects) has a new album out, and it is a continuation of his mellow, cosmic guitar playing inspired, possibly, by everything from psych and post-rock to four-to-the-floor rock licks. Gentle, meandering (in a great way), a nice album to just get lost in the clouds with.
Considering this release, featuring guitarist David Torn and synthesizer player Drew Schlesinger, was made in 1978, I’m astounded as to how fresh it sounds. There are a few spots where the recording might be a touch thin (I’m playing this album on the speakers of a relatively new iMac), but overall, this is very solid, rather beautiful looping and synth programming. If you are a fan of Brian Eno’s and Robert Fripp’s collaborations, or are simply curious about Torn’s early works, this album is a must. It is also a fine introduction to Schlesinger, whom I knew nothing about before being pointed to this release.
Listening to what I would assume is microtonal guitar work (if my friends would be so kind as to correct me, I would be much obliged) proved to be a very rewarding expeience. HJ Ayala, a friend of this blog, collaborates with cellist Stéphane Clor in this release clocking in at just under 40 minutes. This is a quiet release, but the interplay between guitar and cello seems to intricate that it managed to hold my attention throughout. I’m already a fan of Ayala’s guitar playing, so I’m not surprised he continues to release improvisational music of such great quality, but it’s nice to see him collaborate with Clor, whose work I had never heard until today. A recommended disc.
It’s a very happy occasion when I get to review a new album by Santiago Fradejas! Our friend, guitarist and composer now based in Barcelona, Spain, comes at us with another disc full of soundscapes which sit well between the more mellow compositions of John McLaughlin, the usual powerful post-Industrial soundscapes, and maybe because I have been listening a lot to him lately, some bits that would not sound out-of-place in a Charles Mingus album.
Stvannyr consist of 2/3 of the post-rock/atmospheric metal group Realm of Wolves, but this project might actually be heavier. We’ve come to expect some fine instrumental tracks from István and his crew, and this album is no exception. The guitar playing is clean, sharp, excellent in terms of metal music (which is not my cup of tea normally, making this album that much more exceptional). It’s crisply recorded, and loud enough
Post-rock music keeps branching out into fresh territory, which makes musicians practicing this dark art a pleasure to enjoy.