Skip to main content
Latest:
Loading...
Englich - Your Choice Way Sinhala - Your Choice Way

Sponsor


Golden Retriever/Chuck Johnson - Rain Shadow Music Album Reviews

The bass clarinet and synthesizer duo and the Oakland guitarist collaborate on an immersive quartet of tracks that feel like still-life paintings of the same object from slightly different angles.

Jonathan Sielaff, Matt Carlson, and Chuck Johnson share an apparent aversion to sharp edges and hard surfaces. For more than a decade, Sielaff and Carlson’s Portland, Oregon, duo Golden Retriever has used the unusual pairing of bass clarinet and modular synthesizer to make music that flows like liquid. Unbowed by their instruments’ limitations, they create an illusion of fullness, using just-intonation systems to pull ghost tones out of thin air, arpeggios to suggest mirage-like harmonies, and overdubs to weave narrow bands of tone into shimmering expanses. Oakland, California, guitarist Johnson also knows something about making his instrument sound like something it is not. Though he got his start playing fingerpicked acoustic folk in the American primitive tradition, his 2017 album Balsams turned the plaintive sound of the pedal steel to blissfully ethereal ends. And in the duo Saariselka, alongside Marielle V. Jakobsons, he eked even more weightless atmospheres out of his slide and steel strings.
Rain Shadow amounts to a meeting of like minds, with a twist. Though Johnson and Golden Retriever have occasionally appeared on the same bills, they’ve never actually played together, not even for the making of the album. While Golden Retriever habitually mix real-time improvisation and subsequent editing, this time all three musicians hunkered down in their respective studios, composing and then swapping their individual parts in a three-way round robin exchange. Golden Retriever performed the final mix and arrangement on two of the album’s four tracks, while Johnson took on the other two. It’s a testament to the musicians’ collective mind meld that no song bears the obvious signature of any individual; it’s impossible to say who put the finishing touches on any of these uniformly luminous instrumentals.
One of two 13-minute tracks, “Empty Quarter” opens the album with a soft chordal blush of unknown provenance, the pedal steel sailing gently over the top; multi-tracked clarinets rise in the mix, answered eventually by electric current from Carlson’s modular. There is no melody, just strands rippling and swirling like seaweed. But some imperceptible transformation takes place along the way: The sound thickens and congeals, its individual elements blurred like the texture of frosted glass.

These songs differ principally not in method but in tone. In “Lupine,” the album’s most lyrical and sentimental track, twinned clarinets and pedal steel twist in slow-motion counterpoint against a glowing, major-key backdrop; the closing “Creosote Ring” takes similar elements and turns them pewter gray, like rain clouds pierced by harsh sunlight. All four tracks feel like parts of a series; they might be still-life paintings of the same object from slightly different angles, or photographs of a grassy field captured at dusk on four consecutive evenings.

Given this uniformity, it might be hard to say just why the long “Sage Thrasher” is the album’s highlight, but it is; there’s a sense of mystery that the other songs don’t have, elements cruising into earshot like prop planes in the distance. The first five minutes feel like swimming through honey, then the body of sound seems to turn paper-thin before expanding once again in all directions, like a physics model of an alternate universe. From modest beginnings, the piece builds to high drama, with the enveloping buzz of an orchestra tuning up—an orchestra of fluorescent tubes, bowed metal, laser beams, and brain waves. It coasts out on a two-minute denouement, dissolving slowly into white noise.

At times it would be nice to hear more variation, more detail, more friction: There’s a moment in “Lupine” when analog distortion adds a faint dusting of grit, a welcome counterbalance to the song’s overwhelming consonance. But the relatively concise album is a warm and immersive listen, and it feels timely. Created in isolation out of choice, rather than dictate or necessity, it’s an example of music’s refusal to be locked down. On Rain Shadow, notes bleed across the stave, pass through walls, and are transformed by good old musicianly telepathy; all that is solid melts into air.

👉👇You May Also Like👇👌


View the original article here

Comments

Populat Posts Last 7 Days

Elvis from Outer Space Movie Review

Blue Suede Saucers
"ATTENTION! ELVIS has left the planet! Elvis has left the planet!" Yup. A completely predictable remark you could expect from pretty much anybody after hearing the title of this movie.  Fortunately, the predictability of "Elvis from Outer Space" stops there. Instead, first time writer/directors Marv Silverman and Tracy Wuischpard have crafted a wonderfully original story that pushes aside all caricatures and tropes and replaces them with a fun and clever romp that fully lives up to its kooky title.

How to Setup an AddMeFast Bot With iMacros

Introduction AddMeFast is a website where you can collect points for various social media tasks. These mostly include following accounts, liking tweets or viewing YouTube videos. Register Now - addMeFast

Chris Brown/Young Thug - Slime&B Music Album Reviews

Rap’s trickster god and R&B’s least tolerable person collaborate on a mixtape with no discernible upside. 
Of the many strange pop-culture artifacts to emerge from quarantine, a collaboration between Young Thug and Chris Brown probably falls higher on the plausibility index than Beyoncé shouting out OnlyFans or the name X Æ A-12, but their new mixtape, Slime&B, still feels beyond explanation. It’s hard to imagine it existing in a world less dystopian than the one we’re in now. The title implies a meeting of the minds and a marrying of their styles, yet this is a clear mismatch. Brown, while still commercially viable, has been slumping creatively. Thug is at the height of his success and near the peak of his powers. To work with Brown, Thug must sacrifice a ton of what makes him special and engaging. Why go from So Much Fun to so little?

ෆජ් අයිසින් (Fudge Icing)

කෑම ලන්තයෙන් අද ඔබට ෆජ් අයිසින් තැවරූ චොකලට් කේක් එකක් සාදන ආකාරය පිළිබඳව දැනුවත් කිරිමටයි මේ සුදානම.
කේක් කිව්ව ගමන් මතකයට එන්නේ චොක්ලට් කේක්. වැඩි දෙනෙක්ගේ කැමැත්ත තියෙන්නේ චොක්ලට් කේක් කන්නයි. චොක්ලට් අයිසින් කේක් නම් තවත් හොදයි. චොක්ලට් අයිසින් කේක් හදද්දී තමයි මේ ෆජ් අයිසින් එක භාවිතයට ගන්නේ. චොක්ලට් අයිසින් එක ලස්සනට දිලිසේනවානම් ඒ තමයි ෆජ් අයිසින්. කේක් කියන්නේ හොද ස්වයං රැකියාවක්. කේක් වර්ග වගේම අයිසින් වර්ගත් මෙහිදී ඕන වෙනවා. හොද ලාභදායි ස්වයං රැකියාවක් විදිහට කේක් හදනවනම් මේ හැමදේම දැනගෙන ඉන්න ඕනේ.ඒ නිසා කෑම ලන්තයෙන් ෆජ් අයිසින් පිලිබදව ඔබව දැනුවත් කිරීම සදහා සුදානම්ව සිටිනවා. එසේනම් අපි බලමු ෆජ් අයිසින් සාදාගන්නා ආකාරය.
අවශ්‍ය ද්‍රව්‍ය: කුකින් චොක්ලට් ග්‍රෑම් 250වැනිලා තේ හැඳි 1අයිසින් සීනි මේස හැඳි 1ෆ්‍රෙෂ් ක්‍රීම් කෝප්ප 1/4

මුර්තාබක් රොටි (Murtabak Roti)

අද අපි හදන්න යන්නේ රාමලාන් කෑමක්.  මුර්තාබක් රොටී කියන්නේ ඉතාමත් ප්‍රණීත ආහාරයක්. මීට ඉස්සෙල්ලා මේ රොටිය ගැන අහලවත්, කාලවත් නැත්නම් අදම හදලා බලන්න. ඔන්න ඒනම් අපි බලමු මුර්තාබක් රොටි හදන විදිය.
පිටි මෝලිය සදහා අවශ්‍ය ද්‍රව්‍ය: පිටි 200gලුණු ස්වල්පයක්මාගරින් තේ හැදි 02වතුර අවශ්‍ය පමණට