Classic Day – Artisan Orchestra
The technicality that comes from the musical marvel that was Frank Zappa starts early in his career with the 1966 release Freak Out! that bust onto the scene spawning a career that would span over 111 total studio albums and records that would test the replayability of true 180-gram vinyl. The first to be worn out was Frank Zappa And The Mothers Over-Nite Sensation that sparked the initial love for Zappa and his twisted artisan orchestra of sound.
From the first ensemble that joins in harmony to form the immensely detailed and isolated performances from each instrument. “Camarillo Brillo” which not only managed to sneak Zappa’s intriguing and peculiar songwriting with a blend of catchy production that takes the listener by the hand, showing them the vivid walls of brightly lit colors that are disguised as drum fills and guitar wails. The tweaks of the strings as Zappa describes, “And so she wandered through the doorway, just like a shadow from the tomb. She said her stereo was four-way, and I’d just love it in her room” creates this peak of excellence. The obtuse writing is quotable and instantly recognizable over the frantic movements, but also display a side of Zappa that allows his fellow musicians to take the spotlight and become the stars.
Between Tom Fowler on the bass, Ian Underwood on flute, clarinet, and both saxophone pieces. That line-up alone is enough to strike some sense of musical ability that small armies would be jealous of. Then with Ralph Humphrey on the percussive set and Ruth Underwood on the marimba and vibraphone; Zappa recruits this passionate arsenal of past loves to come back and jam along to the wild progressive world that becomes Over-Nite Sensation.
Each track feels and acts much differently than the previous and is able to keep a constant flow of motion that not only captures the fanatic-potential that Frank Zappa And The Mothers had, but the chemistry is fascinating. Even as the record is 34-minutes long, Over-Nite Sensation packs some of the heaviest hits of Zappa’s discography with “Fifty-Fifty”, “I’m The Slime”, and even “Montana” which feel more as staples to the record and his style that capture the oddly strange, but engaging pieces through revitalization.
After an almost entirely uplifting and futuristically progressive stance on the 1973 release, Over-Nite Sensation creates more questions within Zappa than it answers. Not only is he able to curate this madness and make sense of the working parts, but Zappa manipulates the immaculately clean instrumentation with performance explosions that resonate even years after the initial release.
Listen To Over-Nite Sensation Here!!! – Youtube/Spotify/Amazon/iTunes
STREAMING // (Video) Injury Reserve – “Jailbreak the Tesla”
Listen/Watch Here – Youtube
Featuring: Aminé
Directed By: Parker Corey
Produced By: Will Hasty
Cinematography By: Chris Ripley
1st AC By: Kyle Frank
Rigging Grip By: Joanne Nguyen
Gaffer By: Gregory Loebell
Grip By: Mathias Peralta
Ronin Operator By: Andrew Brinkhaus
Misc. Day – Kind of Thought
Harsh rainfall leads crashes into the windowpane. As the pounding precipitation begins to pile against the glass, the gentle introduction of jazz instruments follows. The house blend of smoothing, piano bounces and snare stems start to coincide within each other, as the then graceful voice of TwiGy al Salaam starts to shuffle in and distribute through the record. As he uses the backing beat to ignite his performance, TwiGy al Salaam is a developing push toward a progressive near hour of beauty.
“Rain” is the first introduction to the John Coltrane influenced cover art where Blue Thought takes an artful representation of hip-hop and jazz fusion. As the performance moves into “Tonight”, the Japanese vocals would be incredibly foreign to any American listener, but the message translation is understood. The universal language of music transcribes through with these almost erotic whispers that occur in the background while trumpets and warm horn sections vibrate and sculpt a cityscape worth of material. The trumpet playing of Tabu Zombie is a constant variable on Blue Thought, similar to where Lee Morgan made his appearance in the 1957 release Blue Train.
TwiGy Al Salaam is a record for the midnight shuffles into the darkened sub-sections of city streets where the main traffic of the town has now flooded off to bed. Where the music can flourish in the underbelly of seedy speakeasies and accent lighting is the main staple. TwiGy Al Salaam may be the leader of the troupe where the smoke-infested room is a blur but somehow mesmerizing, he captures the attention of the listener in these jazz grooves that feel familiar but with a new coat of varnish. As if an old friend has seen a facelift, rejuvenating the senses and causing reverberation to the spine.
As some of the final analog photographs start to develop and become less of an abstract idea behind TwiGy Al Salaam, Blue Thought has this immense depth behind the verses and styles featured. From the producers that bounce all over Japan’s mountainous backbone, or to the track “Zoo” where the piano is less of a background player and begins to stunt on the jumbotron. It dances playfully in front of the audience and demands the attention as the verses correlate and harmonize as well.
The equal parts rap, equal parts jazz record is progressive and an easy dip in the water of Japanese hip-hop. The lo-fi style of percussion comes from these homegrown cases of ability and manages to hold a near hour worth of content without missing a single three-pointer. Launching from the golden-aged jazz influence to the last seconds of modern authenticity, Blue Thought is reminiscent with a new garnish that performs to impress with an arsenal of style.
Listen To Blue Thought Here!!! – Youtube
New Music – Nothing Subliminal
From the name alone, Pissgrave has some clarification and clairvoyance of sound. Even before the record starts to spin, images of anger, blasphemy, emotionally crushing ability, and a sincere loss of hope flash into the synapses. Those are all accurate assumptions as Posthumous Humiliation takes a lead-filled boot to the temple and repeats the process until nothing separates the foot between the ground.
Pissgrave performs at a level that resembles an earthquake, something catastrophic and unorganized but somehow gravitates all attention towards them. From the opening track “Euthanasia” which immediately puts a full-frontal assault toward the listener, combining belligerence and uniformity somehow into one tightly-knit package. It is reminiscent of the video series Faces of Death where not only is the cover art entirely gut-wrenching, but it surprisingly is fitting and matches as the cover and music trade blows between the two.
With little in ways of remorse or substantial pity, Posthumous Humiliation is the musical equivalent of a freight train running the listener over, multiple times and through a slow, repetitive grind. Many of the tracks have an ultra-violent feel behind them where even the concerts are danger zones and are part of an active warzone. Whether in the atmosphere if physicality or the overarching blind hits through the ears, Pissgrave is a punishable balance between the hounds of death that punch through and the thrash style that comes with the track “Funeral Inversion”.
Still, without much in forms of approachability, Pissgrave is primarily instrumental that does more to add gasoline to the already blazing fire that was their last record, Suicide Euphoria. As the 2019 push to the eternal end starts to rush through the blitz of what seems as Pissgrave’s newest way to incite a riot, Posthumous Humiliation performs in a similar vein that would shock and destroy like a hydrogen bomb of sound. The furious percussion pounds through and leaves little room for time of regeneration or rejuvenation, this album will leave the listener sweating and bleeding from the ears.
Between the disgusting cover, the eye-catching name, the sporadic play styles, and the shrieks of mothers covering their child’s eyes from the inhumane spectacle; Pissgrave is one of the more impactful relapses of the year. Posthumous Humiliation leaves a stain where there was once a person, immaculately combining animosity with desperation and the fear of the future from Pissgrave.
Listen To Posthumous Humiliation Here!!! – Profound Lore/Spotify/Amazon/iTunes
STREAMING // (Video) NPR Tiny Desk – Leikeli47
Listen/Watch Here – Youtube
Drums: Timmy Manson Jr.
Guitar: Justus West
Bass: Simba Scott
Piano/Vocals: Portier
Credits Producers: Rodney Carmichael, Morgan Noelle Smith
Creative Director: Bob Boilen
Audio Engineer: Josh Rogosin
Videographers: Morgan Noelle Smith, Kimani Oletu, Beck Harlan
Associate Producer: Bobby Carter
Production Assitant: Adelaide Sandstrom
Photo: Amr Alfiky/NPR
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