released August 13, 2017
YEAH I KNOW IT SUCKS
The sensual mistress of Pink Noise gets her own song, one in which saxophone, romantic words and sparks of noise twirl around each other, it is a combo that feels as if they had gone to the ball together for a sensible session of alternative ballroom dancing among the borders of music. It’s definitely a honorable romantic session, one that smells of sex, steamy noises in a certain intimacy that could only be found in strange romances happening in very bizarre fetish like fairytales. I dig it, will you dig it too? I don’t mean that we go together outside in the garden and bury it in the ground deeply; I mean it’s something you could hear and enjoy.
But don’t worry, this release got more stuff up its sleeves. Mainly a track named ‘low leaves of summertime’, maybe this will get you into that romantic alternative mood that I feel this stuff is taking me. Maybe (if you are close) we could hands together while listening to this one, it really has that hold hands, sit on each other’s lap kind of feel. The noisy bits might have seemed to have taken a backseat, giving more space to turbulently played saxophone, a low tripping jazzy drum and that poetic voice that will melt your heart and inspire your senses to suddenly wear a perfume & write love letters. I don’t know; the powers of romantic stuff never have seemed to amaze me until now!
Yeah, like “thief of a day” this release seems to be able to steal your heart, dips it in chocolate and licks it off in a romantic licking session. Few things are known by these creators who are responsible for this session, but just hearing the music you know that they are onto something, by jumping on a format that seems to be unformatable! With the third track steaming in my ears, the group throws in a whole lot of energy; the sax shoots out its semen, the drum kicks hard or goes even in squirt mood with a full on blast & the underlying noise feels like naught sex that will leave no corner of the room untouched. The only one keeping it cool is the provider of the words, he is like a cool ruler, unchallenged by the steamy scenes he just provides the romantic worldly sounds like a talented writer lighted by candlelight.
What happens next is “As lovers do”, the last session in which you might have the last attempt to get romantically involved (or simply touched) by this release. It will not be very hard (no pun intended!) as the music just shimmers its love bubbles into your ears; if you’d allowed it to play in such intimate ways that is. It might finger you there, pleasantly, whispering in your brain, kissing your mind and somehow slap each buttock for the right sound and raw sensual tension. It might make you feel like a melting sex kitten, hopelessly caressed and aroused by the music, the material that you haven’t had heard or experienced before but are now enjoying in a dirty session of self discovery… This is the sound of romantic love and sweet sex for the ears, so if you need some of that, please don’t hesitate to come over and click that fine link at that bubbly bottom over here:
Lithuanian musician and visual artist, Martin Rach, exists outside of populist genre movements. Whilst this, his third release for Attenuation Circuit, encompasses aspects of noise, free jazz, and avant-garde electronics, it flits and flirts with these definitions. Never succumbing to the trappings of one convention or another. These are love songs from another place. Specifically, the other place found in Twin Peaks. It is as if the red-suited dwarf has been reinterpreting Sun Ra’s interplanetary sounds backwards, forwards, and then backwards again. Before slowing them right down and allowing a Parisian Attila Csihar to croon through blue smoke.
There is a weariness to the Mistress of Pink Noise, it suggests an end-of-night, resigned cigarette as stools are upturned on sticky bars. Languid apathy permeates every vowel that seeps from Rach’s throat. Thief of a Day, however, is a frenzied shriek of brass. Scattered broken beats vie for attention. Dubby bass lingers and gushes. There is talk of bad poetry. On As Lovers Do the percussion is namely swinging brushes upon cymbals and concentrated handclaps over the top of reversed electronic synths.
This is jazz deconstructed. Saxophonic whimpers. Thick lumps of bass swipe between the coy brass leads. Then things become a little feral and demented, all the while being underpinned by those eerie semi-whispered vocals. If it is broken industrial noise, then it is sleazy with it. There are misfires of machinery and lowered lights. This is something like a burlesque show in the 1940s gas station of the afore-mentioned fictional town. I half expect a menacing woodsman to leer “Got a light?”
BAD ALCHEMY #96
Love Low (ACK 1046, CD-R) setzt mit monoton gemurmelter Lyrik ein, elektronisch umgrollt, umknarzt, mit melancholischem Baritonsaxophon, aneckendem Drumming, Handclappingbeat. In MARRACH / CHTIN MARA erkennen wir den Litauer Martin Rach und zusammen mit BAD POET das Dreamteam von "Opus Oratorium" (2016), das sich durch Varese'sche Arkana und Mountains of Madness gegraben hat. HipHop, NoirJazz und Illbient verschlungen zu 'Tripstep'. The Last Poets meet Death Grips auf Valium ...but when you speak of love, / speak low... i body sense the silence / you left without a sound / i cover up with moss / wary of being found... Swing lower, swing slower, sweet - ? Bad poets of all times / have called it 'heart'.