Every once in a while a record comes along that exists in it's own space of time. It cares not for genre pigeonholes or attention seeking status; it just pops up, does what it does, and slowly creeps into your corner and life and stays.
I've been living with this KOPERNIK album for years and it still has a powerful affect on me. It's a perfectly realized, concise vision of what benefits the careful listener can gain by exposure to true meaningful sound.
There are elements of electronic, chamber music, post rock, ambient, but those elements are more like tiny fragments. It's almost as if the Kopernik duo took some records back to their laboratory and dissected each one into tiny molecular pieces and chose not the pieces themselves, but the DNA from those pieces to structure one hell of a beautiful album. There is a very minimal approach to each number here; simple and subtle. Yet, this stuff is quite complex in how it is harmonically composed. Themes are quietly and purposefully stated, they are never overblown, yet those themes are lush in texture, space, and colour. Sometimes, I imagine these pieces more as work on a frame, rather than the picture itself. A work around the details of the outer edge; an open sided boundary to put the art in context rather than category. One may be able to discover cinematic themes here as well...and here is where the observant listener can pinpoint a big difference between ideas of "soundtrack" and "cinema."
Kopernik is an underrated album full of a slow blooming wonder; and one whose beauty is revealed through multiple listens.
For people who have a spark of curiosity about the legendary music of Miles Davis, knowing where to begin the search can be a frustrating issue. With a back catalogue as vast as a small continent, figuring out where to start and where to go can be tricky; especially considering the many phases of Miles' long and adventurous career. He spawned many followers and imitators and made many enemies along the way. a larger than life figure who would dominate the jazz scene for decades and whose music still holds power and brilliance even to this day.
AGHARTA is a savage snarling primal beast of an album who has dipped his entire body in some kind of hallucinogenic potion and is dealing out tarot cards while ringing up the devil on a direct line. Seriously, some of this music on AGHARTA is so intense that it is frightening. It's beyond the ideas played out in BITCHES BREW and it's certainly nowhere near the funk of James Brown or Funkadelic. It's like the party in funk music has been overshadowed by a dark strange force that has got your ears in a stranglehold. The music on these nights has ripped open a little hole in the fabric of the serenity and little pockets of hell are seeping out.
The direction in music on this night in Osaka, Japan on February 1st, 1975 is dirty and hungry and just doesn't give a damn what you think! The drums flow like a river of blood and only stop to let the organ make a few stabs into the air, the it's back to the onslaught. When it's time for their solo the guitars creep up like distant radio waves transmitted from an outer space swamp. The bass slides around and stalks you like a panther, and the trumpet seems to scream and pitch out a fierce cry that rallies the troops to continue. When you've finally gotten to the last 20 minutes of Agharta, you find yourself floating restlessly in that undersea world pictured on the back cover. You've somehow survived the night, but you'll never be the same again.
I've been home sick the past few days with a cold and the SLAVES brand of feverish, swooning, dark DOORS worship has been fitting along nicely with my under-the-weatherness. Spiraling guitar lines, tense minimal compositions, and a semi-creepy, semi-sensual feeling.
This blog does not store any files on its server. The postings are for promotional and preview purposes only and all music downloaded from here should be deleted within 24 hours. If you like the albums you have heard here, please support the artists by buying their cds.