Important Rec.   V.A. : The Garden Of Forking Paths (NL-US/UK/JAP,rec.2006-2007,pub.2008)****°

It’s nice to see how James Blackshaw is appreciated, when asked to compile this album of artists with unusual approaches to picking instruments (guitars etc.), of whose tracks fit together in their approach, even though they use different instruments. For the picking instruments, being aware of Cage-like prepared sound tone systems or a chosen series of harmonies, they compose melodies with it, different in approach to minimalism, but still with a certain minimalist picking evolution. Chieko Mori’s track sounds like picking on a prepared instrument (with a few tones close to harp, a koto ?) with its minimal odd harmony note restrictions which is still inhabiting a structure including a melodic evolution. James Blackshaw’s guitar sounds like a 4-hand moody mechanical ticking clock picking. Next comes Helena Espvall with a rather contemporary sounding cello improvisation, recorded a bit in a distance with harmonies of a bigger room echoing, giving a weirder effect to the improvisation, as if the cello comes alive like transforming into a half animal/half organic entity (for almost 8 minutes). Jozef van Wissem’s track is a well fitting good choice, a strangely moving rather minimalist approach on lute (of over 13 minutes). (It is his most interesting composition to date). After his own theme of a minimalist series of tones, a more melodic improvisation follows after. After some minutes, a third part goes to a calmer new series of picked harmonies. Last track by Chieko Mori is more clearly on a koto, and reveals a more eastern sounding improvised tune. 

A great compilation, which is enjoyable with uplifting ideas to a different level from start to finish. Highly recommended to those who haven't heard most of these artists yet, also because, perhaps except for Blackshaw himself, they really show the best of their talent. Note : the compositions were recorded specially for this collection.

Audio : Chieko Mori : "Spiral Wave" (or here); James Blackshaw : "The Broken Hourglass"(or here), Helena Espvall : "Home Of Shadows And Whirlwinds"(or here), Jozef Van Wissem : "The Mirror Of Eternal Light"

Info : http://brainwashed.com/index.php?option=com_content&task=view&id=6657&Itemid=90
& http://www.importantrecords.com/releases/imprec162_release_page.htm

Homepage of Chieo Mori : http://morichieko.fastmail.fm/
& with audio : http://www.myspace.com/chiekomori

Previous previous review of Helena Espvall here ; previous reviews of James Blackshaw here, here, here and here and here (duo with Van Wissem), of Jozef van Wissem here (2 solo releases) & here (duo release with James Blackshaw), both on this page, and also the next Jozef Van Wissem release (2008) here ->
Thrill Jockey Rec.      Daniel A.I.U. Higgs : Atomic Yggdrasil Tarot -book + cd / LP- (US,2007)***°°

This is pretty much a clever homerecording with use of distorting and guitar/banjo/jew’s harp improvisations. I noticed three versions, one is with a book with illustrations, and another one is an LP.

The first track, “Luminous Carcass Ornament”, starts with the recording of some explosions, and, as if this caused a remaining distortion in the recording equipment, an electrified banjo solo comes through. “Cocoon on the cross” plays in a different way with distortions, and we hear what sounds like a left over sound of an accordion drone and a destroyed toypiano recording, before a raga guitar solo takes over, with patience : a great improvisation played on a guitar with two droning strings, with moody motions of fingerpicking, changing speed, tension, and plucking some melodies out of it. “Spectral Hues” is an experimental track of a strange, “plucked” collage of recordings assembled on tape of piano droning strings, -with the tape switched off and on in the middle of the resonating sounds mostly after having played it heavily, or while playing it with certain tensions, and with the sound of the switch of the tape participating cleverly in the recording composition-, making from this recording more something of what sounds like a kind of semi-experimental guitar or resonating strings track (or attack) other than a common piano piece. The title track, “Subatomic Yggdrasil Tarot” is a well fitting distorted recording on electric banjo (?), an improvisation with attractive electric distortion. “Creation Moan” has even more heavy distortion comparable to the sort of distortion usually used in heavy rock, but more experimental in nature), and is another guitar improvisation. After windy slightly white noise with birds coming through changing into watery noise, a last distorted guitar improvisation is added, in different parts. The second part of this track, “Hems and Seams”, we hear a distorted string drone with a jew’s harp improvisation, and a metal bell (?) rhythm.

Daniel Higgs proved once more to be a great solo performer, who uses clever, and in an experimental way, distortion to its performances and recordings. He succeeded once more to deliver something rather unique.

The CD + book is printed in 4000 copies. The LP is sold out by now.

Audio : "Creation Moan" & on http://music.barnesandnoble.com/...
Info : http://www.thrilljockey.com/artists/index.html?id=10236
with this release : http://www.thrilljockey.com/catalog/index.html?id=100699
& http://www.dischord.com/release/TJ184
REview with 3 audio tracks : http://www.boomkat.com/item.cfm?id=35955
Other reviews : http://www.pitchforkmedia.com/article/record_review/44283-atomic-yggdrasil-tarot
& http://audiversity.com/2007/06/daniel-aiu-higgs-atomic-yggdrasil-tarot.html
& (with inside pictures) : http://www.book-by-its-cover.com/other/atomic-yggdrasil-tarot
& http://www.thephiller.com/reviews/d/daniel_a_i_u_higgs/atomic_yggdrasil_tarot.shtml
& http://www.avclub.com/content/music/daniel_a_i_u_higgs
& http://www.atomicbooks.com/products/-/16222.html
& http://www.cokemachineglow.com/record_review/3228/daniel-aiu-higgs
& http://www.hairentertainment.com/DanielHiggs/AtomicYggdrasilTarot
& http://www.popmatters.com/pm/music/reviews/43115/daniel-higgs-atomic-yggdrasil-tarot1/
& http://www.staticmultimedia.com/music/reviews/review_1189701600
& http://www.zapbangmagazine.com/music/record_reviews/328/
& http://www.secondlayer.co.uk/index/p5352.htm
& http://www.digitalisindustries.com/foxyd/reviews.php?which=2552
& http://www.documentskateboard.com/hark/daniel-aiu-higgs-atomic-yggdrasil-tarot
audioMer    Brethren of the Free Spirit : All Things are from Him, through Him and in Him (NL/UK,2007)***'

This cooperation between Jozef Van Wissem (lute) and James Blackshaw (12-string guitar) took the name of this group from spiritual and religious thinkers.

Intro.

In early medieval times we did not have the tendency to divide-and-unite into one centre as much as tends to happen today, -with all the emotional troubled personal opinions looking for attention, underneath, fighting their wars seeking a place of their own-, because the game is ruled now within a sort of fundament of a post-inquisition position of thinking, because we all still believe the idea of the so called official Churches, who call all the others the "non believers" or consider them as not recognised sects ; also Muslims today in media in Europe seems to be split into two groups of attention mostly, of which both ways of thinking in reality receive blind political respect. Any backwards, conservative or personal opinions with help of God-beliefs are taken nowadays much more seriously and blindly, and are not judged any longer, like in medieval times, as one way or degree in understanding to liberate oneself, something which with philosophy could be divided in partly useful or hardly useful ideas.
In early days there were many ways of thinking, of searching and yearning and all them presented some essence of understanding, while, to comprehend each other most of them were still associated with an underlying belief system, so many of them still used the word God, even if you can leave that out their readings if you really want to understand their essences.
Many of these essences developed into certain belief systems or organised definitions of thinking, can be sensed still in peoples morals / understanding in a natural kind of human communication and social development, where certain hidden rules show how we can respect each other, but much more also a certain free, and evolving social growth, that tends to seek how with more differences we can develop a shared trust.
For the Brethren Of Free Spirit, (especially active in Northern Europe in the 13th and 14th century), a deeper essence meant a feeling that something in us that needs to be felt and made free, in order to understand all.
In the introduction of the CD, a great text of Marguerite Porete (from “The Mirror of simple souls”) is included, which sounds more a combination of a Buddhist and Zen-Buddhist way of thinking mixed with Pantheism, about trying to liberate ego-driven desires for becoming one with the nothingness so that all can be understood well, and a person can be a free person.
People from Brethren of the Free Spirit tended to become 'subtle in spirit' instead of having a cruel spirit or having all-consuming egocentric goals. You could say they tended to live like 'Angels' (in a Christian sense) and not like devils on this earth, and (in their way of saying) they tried to find the (being) God-way during life. But their ‘spirituality’ and ‘free spirit’ would also mean that there were no longer rules how to develop this further. Without having limitations in its expressions, sins, they later said, were also not possible for those who were not attached by these desires or were bound in slavery to them. In reality that last part can hardly be translated in a materialist way or with laws and understanding without seeing behind the human person, which is a difficult task for a restricting outsider to see how this free way of acting should happen to be able to make judgement in seeing, who is an honest free spirit and who is a selfish sick-minded "hedonist".*

The CD front cover.

I have no idea why the group has taken such a serious association, but it is great to remember something more of how consciousness evolved, sometimes degraded, loses its sense in too much theory and then still finds a renewed attention (with or without giving attention again to its struggling and even abusing variations, but much more associated with originating, former or today’s reference points, to just sense the human inspirations behind it). The illustration refers to a heretic’s delusions or visions (CD-version), or (the LP-version) just a surreal statue with the heretic sleeping in a hole at the foot of the statue. It gives very much the impression of an alchemist picture, with the usual psychological inner attitude association, symbolic to the achieved chemical process. The titles with no doubt still refer to a conscious process, performed as a rather esoteric alchemist process, with or without spiritual goals.

The CD.

The first introductory track is a majestic inspiration, with the right intention (“the lifting of the veil”), where the changing chords are emphasised with lute (with just a few odd chords-variations), while the guitar makes the picking improvisations. The main title track, after this, uses lots of minimal repetition, almost too much too bear if not listening more attentively to the tiny details and change, or when leaving the clockwise repetition reveals itself as being rather hypnotic. Still, I am a bit cautious to such simplifications and repetitions for they can be caused by a limited or very slow creative imagination in the expressions, compensated by theorizing about them to justify the slow mind (like with mentioning the use of palindromes or whatever fact that on its own, this cannot be enough of a reason to limit creativity deliberately), but as I said, there luckily is enough dialoguing interaction, and it is not too long, so is acceptable, although it launched the feeling of a more limited world and musical character with only tinier ideas blooming. The third track, with electric guitar feedbacks and deliberately odd chords still doesn’t take away the feeling of limiting imagination, deliberately focused or not. Somewhere, a cat sound also seeps through. Some lute chords and other elements sound weird without showing much of its reason. This is clearly the influence of Jozef’s own world, whose imaginations often tend to hang in tiny spaces revealing more inner spaces within limitations. Within this strangeness, Jozef and James have found some rhythmical and sound combinations, to conclude somewhere as it started, with more melodic chord-wise variations of this tiny space, opening up a bit with more melodic pickings.

I am still left with the feeling that this deeper context is only used as an inspiration, just like a picture from an alchemist book could tickle someone's imagination. With such an association nobody seems to remember the way of thinking behind it exactly, but it still creates a space of imagination, strangeness, a different way of thinking, and perhaps not much more is wished for to find access to.

The CD is limited to 1078 copies, while the LP is printed 330 copies.

------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Additional Essay based upon the idea of the Free Spirit with Christanity on the background.

* PS. I am sure that a theorizing belief system like that remembered as the Brethren of the Free Spirit came into existence because people who act and do things from their heart sometimes do unacceptable things for a held fast rules regulated society, like for instance, a divorce from a bad relationship and going to a better person, even when this is an honest, and not pure selfish decision, it was not always recognized and accepted this way. To ensure its essence in those days, only any alternative belief system would be convincing enough for trying to explain inner motives to these religious thinkers who claim for themselves something of a superior position. Against them, only such a newly written down resume into a belief-system can demand an alternative to them, even when the last one is only about being consciously human, and trying to live like that. However, theorizing this with an explanatory system, seemed to be hardly provable for those who claim laws and order, and it also becomes a system that can easily be abused, even when also Christianity was already an abusing system of order with a practically worked out political system.
It became so, that the most materialistic systems of laws won the battle for official recognition in the end. Luckily, in the 15th century, science and neo-Platonism were still more succesful alternative and practical foundations compared to all the religious claims and abuses. Only today, science and psychology face again a new battle against law and order from inquisition-like eyes from those who claim to have superiority by having "direct instructions from God" (especially now, the New Born Christians and certain groups using Islamic associations).
In the 15th century, in Eastern societies (like China and Korea) they didn’t face this whole game of Gods-this-and-that so much ; they had ‘Wisdom’ as a judgement for human behaviour, something that could stand beyond laws if necessary. Those few inspectors who could make judgments out of wisdom could only find such a position when they were capable of wisdom, on various levels. But European history knew a whole other growth, where intelligence was part of it but not wisdom like in the East.
Our spiritual-philosophical/moral/religious history hangs together with evolutions coming from Egypt, Greece, Rome and Middle East mostly. Because these evolutions hang also together with the Middle East, (-more than with the East-), the responsibility of our reactions towards it reflects also something still unsolved in our own world. In this way it wouldn’t be too bad an idea to write a book or essay on the history of God and morals, not from a religious, but from a philosophical viewpoint, especially when, when I see we still inherit a blind tolerance/acceptance towards any kind of thought or act with religious associations, and also don't find any philosophical argument against any discrepancy in it.

A logical evolution...

It seems that the first appearances of Gods, in human shapes, might have been real persons who did something so special that they were remembered as examples of beings with a different level of associations. This gave these persons a God-status, because their history worked on a different level, and they were not forgotten. Egyptian pharaohs were very spiritual but thoroughly that society forgot lots of its origins, like the ancient meditative ways to meditate under ground like in a wintersleep, and what it meant to become like a Star, a God. Under the Romans, it was no longer clear where all their Gods came from, and the emperor even called himself beforehand a 'son of God'. When the Romans established themselves in the Middle East, people were still looking for the true sense from inside, and they changed ideas from the Romans, as a first reaction. Just like Jesus there were many more people around making alternatives, but the social wish for an alternative ruler, and an example for the society was very big. It was the people themselves who called Jesus 'Son of God' as an alternative to the emperor. This Jesus movement had more success than others because it was a message which didn’t have many restrictions in selecting people. Rome eventually embraced Christianity, after a prolonged struggle, for some reasons I will not write about this time. The struggle in finding a place for these remaining thoughts didn’t end, because at some point some preachers of Jesus felt superior, and in the end only one person claimed the throne and became the pope (in Rome, again-where else-), and who was called 'representative of God on Earth' (can you imagine). Also Islam and all that was living as thought-systems in those areas this was synthesised into the Koran, which was compiled and stagnated in notions of by law and order by one man who then claimed that he was the 'last prophet', setting up in rules all that he assembled (which luckily still included something of the human heart and its free conditions, in combination with common rules ; -the feminine ruled religions at that stage were overruled, with order and discipline, -as one of the last places in the world-, so their vague intuitive freedoms, feelings and influences were also wiped out in the evolutions of thinkers and religions; they only kept the moon symbol-).
Anyhow, all these evolutions resulted in people forgetting one important and original essence behind all that, the trying to form a spiritual being, different from an egoistic animal. Sadly enough, the two biggest religious forms of today with their regulations are no longer associated very much with that essence of 'human being', and only tend to come up with a set of rules on how to have acceptable behaviour, as an attention especially to the outside person. But in truth, people from any such religion can also be blind and egoistic, and are no longer associating things very freely towards the true 'human being', which is the true spiritual essence from where it all started, with the attempt to become a free, or say it in Eastern terms, an enlightened person. Who still remembers what it really means to be a free and an unattached mind ?
Unfortunately for the evolutions within Islam, and for the world's evolutions, is that Khomeini, who lived in France, found the Western idea of a pope very clever, and he established, in the 70s, the most radical new form of Islam than ever before, with even more rules (I thought there wasn't a new prophet possible?). It is these radical evolutions which are felt as a threat to Western Society because they symbolise a society that stopped the spontaneous evolution which still respects the idea of a free person, which is socially and personally developed by experience and communication, and in that way gets its true significance within our or any Culture.

I personally consider as a very inner-rich or Culturally-rich society, a Community which has very little rules but lots of understanding and a developed condition of trust. In such a well developed Free Community, -which you can still notice in small villages (when not having unwanted visitors -like gangsters-), or in old times, even in cities, woman can walk freely, also at night without facing problems, and generally one’s possessions are respected. Problems were able to be be solved by some mediators.
Unfortunately, it seems that people who were never be able to build up these free regulations are also primitive with them. Men from societies who still sell women for marriage, have not developed a rich communication field with women, and are also often primitive with them. The rules of cutting off hands for stealing might help in Northern Africa, but this way they didn't have the chance to learn to see the importance of Trust, socially and personally.
So again, I must proclaim howof  much importance a Free Spirited Society is. It is important to continue to be able to build on that basic trust, and those who can't build this up with the society we could perhaps again lower its possibilities to climb up, like we always spontaneously did, without exaggerating diminishing any chances for people who are very different. Many gypsies were murdered in WOII. Nowhere you can find statues to remember that. It was said that you could hardly trust Roman gypsies in those days. In Rumania they still don't get that trust, but then after all these years it became a racist kind of regulation where they no longer have a chance to participate in society and they now are doomed to remain outlaws. The climbing up in society stagnated and that is a real shame. When some wealthy Jews had enough money, and allowed usury and loans to the Germans during the thirties crisis, people found afterwards this making profit in time of extreme need, something inhumane in its lack of human perspective. (In Islamic usery no profit at all is allowed, but when any people can, many will also do so, -there is not much difference between people). But sometimes, not being able to work further on a human and social continuity enough makes dangerous situations. It is possible that those who don't succeed enough socially for something will be blamed for it.  On the otherhand it can also be that those who want it different will change society completely. Everybody fights for his own place in his own selfish way. That's is not the spiritual part in them, but the opposite.
Within that world of struggle one battle is fought between trust and distrust. Both of them develop spontanuously and hopefully this will be without exaggerations, with enough opposite chances, and in our post-war trauma condition hopefully we're not devellping the other way in giving too much trust in this battle of the fittest. For instance, today I see politically forced exaggerations to put people with dubious pasts into security jobs. It is of course difficult to find the right conditions where we can face people as people, and are able to do so, however their beliefsystems makes them different. We could also judge this from the human hearts and conditions and be honest with that, whatever the consequences brought with it. Perhaps there are certain conditions that can build up trusts, while other situations make it more difficult. But no matter how this is worked out in practice, this wasn't the reason why I started to write this essay... What I wanted to say is be careful of a further development in this society that we should not trust new regulations that take away some human fundament. It was the being human which was the first spiritual conquest which all people, when communicating and even struggling for their survival still needed to survive.
It is important for those who want a change in positions and if society allows it, that we keep in mind the importance of the essence of a Free Society, and that this is NOT like an anarchic, spoiled Western Society, which only with that excuse will be attempted for ever to become overruled step by step with Trojan Horses, to more law and order inspired by so called religions, who only know a certain order, but who themselves dodn't develop the freedom of human conditions within society to make such a change a trust-making development. What we really need is a further evolution that should be able to keep the personal freedoms protected, while developing with it the whole sum of human conditions. First of all for this sake, we must consider people again as people, with a common source of inspiration, no matter where it comes from. Religion hereby is never superior, because humans are always inspired and think as limited as humans, no matter what source of inspiration they bring along.  Everybody wants their place, and that's ok, but that's also the primitive and selfish part. We can now only choose to make rules over this selfishness with a great human condition, or with a whole set of increasing rules. What kind of society shall we create ? A society that will work on the human conditions with the availability of trust with few rules where much can be solved from communication from within, or with a new form of tyranny regulated by one dominating opinion which will speak for all the differences ? Of course, trust and human condition demands a realistic discipline and a personal vision which needs to get its own development of experiences.

With the Bertren of Free Spirit I realized something of our evolution which we should remember, and develop further.

In today’s society we associate of course this continued battle of consciousness with religion because any associations with religions, together with an oversensitive carefulness regarding towards other opinions/races and beliefsystems, we continue to pamper even this with more stimuli. But, in reality it are also groups, societies and communities with ‘rules of the street’ who are built more on Distrust (where it is normal to buy off people for instance), which are an equal, if not bigger danger when they enter a more free society. But it is the cocktail of change which uses our own idiocy and acceptance towards everything associated with religion which will make real human sense, and integrations less discussable, so that also the protection of certain human values will become even more difficult. At the time when we will welcome the rest of Eastern Europe a completely free entrance into the EC, and with more economic change expected, it seems that we are growing directly towards a repetition of the conditions from just before World War II. Also then, we will not do something about the real changes that are happening already now, because the memories of the Word War are based upon different things and are coloured by guilt because then, people used racism with sacrifice and abuse of its system and were not improving communication to give growth alone to an honest human mentality. I have no idea how the battle for new majorities will be faced this time, and even if we can stop the changes about to happen. I only understand the importance of certain, also unwritten, foundations, and the attempts of certain people wanting to change it with a new law and order, where we will lose certain essences with it. Within any change that happens, please do not neglect the consciousness of the free spirit over human conditions. While certain people will prefer particular ‘law and order’, and while some might think it will be the best system for them, (as long as they didn’t learn to adapt well on any other system), for all the others, which are most of us who live in this Western Society, it will still be the best for our true nature to keep a certain freedom in behaviour, because also, if we are allowed to solve everything as I explained before, within a certain limited in size society, we will be proved trustworthy in it. We know already and have experienced the discrimination by Roman Catholicism (-if you were not completely with them, but were for instance a socialist you had trouble to survive-), there is no reason why that should repeat itself.

Audio : "...The Lifting Of The Veil" , "All Things Are From Him, Through Him And In Him"
Label info & audio : http://www.myspace.com/audiomer
Video on http://www.youtube.com/..

About the 'Brethren of the Free Spirit' : http://en.wikipedia.org/wiki/Brethren_of_the_Free_Spirit
& http://members.aol.com/pantheism0/freespir.htm
& http://www.dhushara.com/book/consum/free.htm
& http://www.notbored.org/brethren.html
& http://www.notbored.org/fatherraoul.html
& http://www.bopsecrets.org/rexroth/communalism2.htm
More about 'The Mirror of Simple Souls' by Marguerite Porete : http://en.wikipedia.org/wiki/The_Mirror_of_Simple_Souls

About the essay : a few more thoughts and  about the changes in Europe see youtube here & here & here

  next album with Van Wissem->
REVIEW PAGE 10  FOR  CREATIVE GUITARISTS/ FINGERPICKERS :

(Tetuzi Akiyama/) Jozef Van Wissem (3x), Brethren of the Free SpiritV.A.: The Garden Of Forking Paths,
Alexander Turnquist, Enver Izmailov, Mike Tamburo, The End Springs/Donato Epiro, Daniel AIU Higgs
Incuna Bulum    Jozef Van Wissem : Stations Of The Cross (NL/US,2007)***

Jozef Van Wissem, (now residing in Brooklyn, but of Dutch origin) learned classical guitar, but soon discovered transcriptions of Baroque and Renaissance lute music. He didn’t mind switching from playing Vivaldi one day and playing with local punks the next. When he finally turned to his New York lute teacher, he encouraged him to concentrate on his own pieces for lute, so he started to focus on the lute tablatures, and turned them upside down, played them in reverse and so on to discover its true meaning and own interpretation forms. After a first attempt of a contemporary look at these Renaissance pieces, he made two albums with Captain Beefheart’s guitarist Gary Lucas, a first cooperation with Japanese improviser Tetuzi Akiyama, another cooperation, at a distance, with industrial composer Maurizio Bianchi, and then this concept piece. At one stage, when travelling, listening to airport sounds, and having heard someone sobbing at a silent airport, he was impressed by the impact of these minimal sounds. This album, “stations of the cross”, is meant as “a commentary on the religious experience of travellers who gather in airports and railway stations. A sort of a Mass..” Jozef says. Therefore he used some software to edit taped field recordings of airports, so that the sounds come up and fade out like winds, like natural machinery. His lute pieces, played on a 10 string Renaissance lute, and a 13 string Baroque lute are very minimal but mostly with two layers of development with the chord tune on one hand, and an additional collection of plucked overtones (track 1), or bass strings, slowed down so much with its picked or stroke chords that the music is one level more complex than with the neo-folk association, creates a meditative effect, takes time to develop, in breathing tempos, minimal, improvised and moody, taking time for the sounds of resonance. The idea and approach is done consequently while the environmental recordings make a natural intermission, this I guess almost becomes like a religious experience of a source of inspiration.

Audio : http://www.myspace.com/vanwissem
Audio solo release : "Dew Drops Fall Like Tears at Eventide", "You Can't Go Home Again"
Homepage : http://www.jozefvanwissem.com/
Other review : http://ssl.adhost.com/jazzloft/baskets/pos.cfm?CD=12445


Incuna Bulum    Tetuzi Akiyama & Jozef Van Wissem : Hymn For A Fallen Angel (JAP/NL/US,2006)**'

Also the improvisations with Japanese guitarist, Akiyama are minimal affairs of improvisations, with first some expanding peace of sounds, strange chords and harmonies and contemporary compositions and evolutions, rather esoteric in nature. Additionammy also bottle neck slides are added to the inspirations, forming a next layer that thoroughly brings in a certain more recognisable moodiness, not too far away from what becomes a blues reached from an unusual starting point. Not an easy but also not a too difficult peace.

Future plans include further cooperations with Bianchi and Akiyama and touring with Elliott Sharp, James Blackshaw and Chris Forsyth (with whom he also planned another album).

Audio : "The Road of Excess Leads To The Palace of Wisdom" (from WMFU)
& on http://www.myspace.com/vanwissem
Video (not related with albums) on youtube
Homepage : http://www.jozefvanwissem.com/
Info : http://en.wikipedia.org/wiki/Jozef_van_Wissem
& http://www.white-heat.com/?page=fiches&id=45
Info on Akiyama : http://en.wikipedia.org/wiki/Tetuzi_Akiyama
Info on this release : http://www.japanimprov.com/indies2/incunabulum/fallenangel.html
Dutch review : http://www.kwadratuur.be/audio.php?id=579
Other review : http://ssl.adhost.com/jazzloft/baskets/pos.cfm?CD=12446

Descriptions Akiyama/Van Wissem releases : http://www.forcedexposure.com/artists/akiyama.jozef.van.wissem.tetuzi.html
Reviews of older releases : http://www.dustedmagazine.com/reviews/1394
& http://www.onefinalnote.com/uaa/2004/unamerican09/next release with Van Wissem :->









GO TO NEXT REVIEW PAGE->
or go back to general index
or to the Acid Folk related index
Enver   Enver Izmaylov : The Guitar Legend Of Crimea (UKR,rec.2006)****'


review moved to
http://psychevanhetfolk.homestead.com/FUSION2.html#anchor_79
VHF Rec.   Aleksander Turnquist : Faint at the Loudest Hour (US,2007)****

This is the first album I hear from this guitarist (I almost mistook him for Appelqvist, who also has music on Kning Disk). He follows a bit the likes of Jack Rose, James Blackshaw or Ben Reynolds, with more intuitive evolutions, not as much like with straight improvisational compositions and evolutions as you have with a raga evolution, but much more impressionistic.

The recordings are done with the help of Scott Solter who’s processing sound talent was used before with several other groups (The Mountain Goats, Court & Spark, William Lazarus, Tarentel, Erik Friedlander, Boxharp, and so on), a talent which I think I recognise. Alexander plays 6 and 12 string, plays vibes, lap steel, piano and has some prepared samples. At a certain point on the first track, “Amongst a swarm of hummingbirds”, a moody fingerpicking excursion, it sounds as if the recording is remixed into a sort of sonic machinery with different speeds and echoes, into a sort of part 2, with some colouring rhythmically processed distortions in it, before returning naturally to the original acoustic mood. Added in the pickings are the more limited-resonating ends of strings which seem to be included in the more complex pickings. Besides, the track had started with a few ambient textures. The second track is played by amplified pickings, in combination with slide, and is resonating a bit harder. Further on also some vibes are added, like overtone touches of notes. Also the third track starts in an ambient sphere before a new road of, -at first fast-, wheel of pickings arise and dance their way through.

Most of the time the compositions consists of very moody pickings, chords-wise, fastening a bit or calmer and sometimes with one resonating note, evolving moodily, here and there rather minimal with patterns or with a bit more melody, and can be divided into sections of different ideas with new texturing sound contributions, or with slightly changed tensions or speed.

On “Mime Fight” can be heard some surprising breaks of new picking ideas, with a more clever use of combinations strings and sounds of strings. The last most minimal outro is completed with just a few additional piano notes added to the minimal melody.

A very moody and enjoyable album.

Audio :"amongst a swarm of hummingbirds",  "in the vein of bedlam", "water spots upon my mind", 
"white out" (or at WMFU here), "mime fight", "as the sun sets, we think of days to come..."
& on http://www.myspace.com/alexanderturnquist
& on http://www.midheaven.com/artists/turnquist.alexander.html
Review with 3 audio tracks : http://www.boomkat.com/artist.cfm?a=15222
Description : http://elecvp.blogspot.com/2007/09/making-waves-alexander-turnquist.html
Article : http://andtheworldsmileswithyou.blogspot.com/2007/10/intro-alexander-turnquist.html
Label info : http://www.vhfrecords.com/catalog/107.htm

Scott Solter info on http://www.boxharp.com/scottsolter/news.htm
& http://www.tellallrecords.com/solter.shtml
New American Folk Hero   Mike Tamburo : Language Of The Birds and other Fantasies -7cdr- (US,2007)****

Some CDRs of this box I will review on the experimental acidfolk review page. The pure guitar picking albums will be reviewed on this page.

CD2, "Language of the birds" (CDR,rec.2006)***'

This second 8-track album consists of solo 6-string compositions and improvisations recorded in three different places. At first listen, I felt a bit lost with them, being not technical enough to understand all moves, and not being sure what they are really expressing, except for being just themselves, pickings that are constantly changing and developing and moving, walking endlessly, continuing to bring me further and further, with no restrictions. There is almost a constant change (with little theme repetitions & turns to make more clear orientation points). There are some brilliant moves but as content in the composition it remains as having the effect of a grey veil over the expressed area, when not showing clearly its conscious directions or change or underlying structure that uplifts this obviously talented game to a sort of more human reality to visualize. Also a second listen didn’t give me this yet, but I still very much appreciated the dreamy trance-walking effect of it. I shouldn't try to figure out the language of the birds too much. It doesn’t need any effort to just enjoy their presence of the moment. There’s wasn’t any moment that didn’t maintain the same sort of listening attention. It is as if John Fahey just stopped adding any references in his music and just tripped out...

Limited box of 250 copies.

Info : http://www.musicfellowship.com/mf33.html
Homepage : http://www.miketamburo.com/ & with audio on http://www.myspace.com/tamburo
Info on Mike Tamburo : http://virb.com/miketamburo
Descriptions on http://www.mimaroglumusicsales.com/... & http://www.musicfellowship.com/mf33.html
Other reviews : http://www.terrascope.co.uk/Reviews/Reviews_August07.htm#Tamburo & http://www.dwacres.com/node/1452
  LP version  CD (digipack) version
1.World Of Springs      The End Springs / Donato Epiro : Dust Wind Tales -tapesingle- (US/I,2006)**'

I almost forgot I had a tape player (and a good one too, driven by 3 motors and with 3 heads !), so it was time to find out about it with this tape only release. Each side is a little over 10 minutes. First side by The End Springs is a guitar piece, (“dust options & sky rocks”) with acoustic rhythm guitar, building up notes with just a few pickings, while a few flute echo effects are added. One of the strings works like a droning string while a moody rhythmical melody is improvised upon, from chords to a few pickings. This is quickly over. The track by Donato Epiro ‘”Funerary song for a slug”) starts with a harmonium drone, of which a few tones come out, before a guitar piece appears, with weird anti-chords, and of what sound like some additional glass bottle sounds. The composition is multitracked or multi-layered with weird/odd prepared pickings, like a minimalist oddity, of which after a while the mind gets used to and relaxes to, with enjoyment before the harmonium concludes the piece. Limited to 60 numbered copies.

Info & audio The End Springs: http://www.myspace.com/theendsprings
& Donato Epiro : http://www.myspace.com/tubivuoti
Label : http://www.myspace.com/dustwindtales & http://www.dustwindtales.com/releases.html  


2. private      The End Springs : vol II (US,2006)***°

Both releases of The End springs were hand crafted and are already sold out, but the project leader was so friendly to send me a cdr of them to listen. Unfortunately I was unable to play vol. 1.  This second volume (like vol.1, a mini-cdr) was described as being “5 tunes of racing trains, rough blues & folk dreams. The perfect partner for Volume I.” The pieces are experimentally improvised and crafted with multi-tracking with an ear for sounds. The first small piece is a nice picking tune, with a more echoing second guitar on top making a first layer of a texture, with a third layer of an echoing sound, passing by like a wind, based upon a sound like scratching paper or so, fading in and disappearing again, while the melodic guitar tune itself is kept on front leading the mood. The whole combination is cleverly mixed and built up well. This well fitting second tune is more uptempo, like a playful flamenco piece as if made for a puppet on strings, where the rhythm itself is backing with finger-ticking sounds. Also the third guitar piece is composed with three cooperative layers. The main piece is backed by sounds of something which sounds like a seagull-like wind-whistle, and another sound of peeping wood like from a door or floor with a weight on it, and a loop of something comparable to a soft washboard, both participating like a texturing backing chorus, making also this track a happy playful home recording blues. The fourth track is different, and is composed by a rhythm box mixed with some guitar rhythms, and a bit of guitar feedback, all close with the rhythm and the pulsating of the rhythm. Rhythmboxes in general sound harsh, but also this track is subtle and has a dreamy hypnotic effect by combining all sounds into one organic rhythmical track. The last track is played by electric guitar, which plays bluesy solos, while some guitar reverb is added as a second layer and puts a different more experimental effect into the music. At the same time we hear some pulsating sounds in an independently living rhythm, as a knocking-vibrating bass wave sound effect in the background, a second layer of a surreal making texturing effect. I really like the way The End Springs composes and builds up its pieces. By keeping the ideas relatively compact it makes their result really successful.


3. private      The End Springs : vol I (US,2006)***'

Also the first volume was based upon moody improvisations with acoustic guitars mostly, combined with a second acoustic, amplified or electric guitar. More often, but not everywhere this is combined with semi-acoustic kind of lops of scratches or other sound effects or reverb electric guitar to make a more complete sound picture. A few of the moods are a bit bluesy. Last track also features a bit of piano. Nice.

Info & audio The End Springs: http://www.myspace.com/theendsprings
Incunabulum   Jozef Van Wissem : A Priori (NL,2008)****

Although this is a relatively short album (of over 37 minutes), it also sounds like one composition in various parts, and with a right timing for a conclusion. Where with the previous releases of Van Wissem I was left with a feeling of it being introverted esoteric, after the fine revealing composition on ‘Garden Of Forking Paths’  I’m not only more used to the approach, it gives also the feeling it is a very direct way of prepared improvisation. The album starts, in a typical Van Wissem way with picking rows of 3 notes, from chord to chord, extreme minimalism ala Satie’s “gymnopédie”. Thoroughly, within this form of pattern the pickings, and also the way of playing still changes slightly, growing and changing almost organically. Before you know it is a totally different piece. By the time of the third track, we hear slow pickings with just two fingers, while still following a comparable or similar pattern of chords. Space resonates after the pickings, aware of and changed by its substance. After a while you get the feeling you’re comfortable in some eternal bubble in time and space. When on the last track the first theme returns, a few slide (guitar?) touches are added bringing the listener back to earth, making him/her aware that after the previous meditation, the circle is round, all has been said, and the eternal spheres need to settles down now, with the last few notes to a grounded ending.

Audio and download versin on http://digital.othermusic.com/...
Audio and info : http://www.myspace.com/vanwissem
& http://www.myspace.com/incunabulae 
Homepage : http://www.jozefvanwissem.com/
Other reviews : -not yet

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