MUSIC | Records – Jazz & World JAZZ & WORLD
JAZZ JOSHUA ABRAMS & NATURAL INFORMATION SOCIETY Simultonality (tak:til/Eremite) ●●●●● WORLD JUANA MOLINA Halo (Crammed Discs) ●●●●●
Joshua Abrams is one of the most adventurous players to emerge from Chicago’s vibrant creative music scene. Simultonality reflects the breadth of his vision, weaving elements of spiritual jazz, minimalism, North African gnawa and Indian classical into a shimmering, kinetic trance music. This is the first Natural Information Society album to feature the working lineup of the band, which perhaps explains its focus and rhythmic energy. Several tracks begin with insistent Terry Riley-like organ patterns, before Abrams strikes up a riff on the guimbri (bass lute) to open it all out. Drummers Michael Avery and Frank Rosaly channel the flow motion of Can’s Jaki Liebezeit, creating expansive grooves that bubble away under Lisa Alvarado’s meditative harmonium and Emmett Kelly’s fuzz guitar jabs. Closing track ‘2128 ½’ finds Abrams on bass, paying homage to the spiritual jazz of Alice Coltrane and his mentor Fred Anderson: a splendid thing.
JAZZ MICHEL EDELIN FLUTE FEVER ORCHESTRA FEAT. NICOLE MITCHELL Kalamania (Rogue Art) ●●●●● I got a fever and the prescription is more flute! French flautist Michel Edelin has assembled some of the instrument’s leading practitioners for Kalamania, not least the peerless Nicole Mitchell. As the four flautists dance on thermals, the rhythm section of bassist Peter Giron and drummer John Betsch keep things grounded with a great free swinging feel. There’s nothing twee or hippy-ish about the flute playing here: Edelin, Mitchell, Sylvaine Hélary and Ludivine Issambourg tease myriad tones and textures from their axes, contrasting shrill piccolo figures with breathy bass flute, and cheeky harmonised riffs with spittle-flecked abstractions. All the pieces are by Edelin, with the exception of ‘Joyful Struggle’, a Mitchell composition that adds folk flourishes to modernist structures. ‘Obsession’ breaks into a sweet gospel refrain, the musicians singing over handclaps and solo flute, while ‘Flying Drum’ detournes a parade ground march with sputtering vocal improv and demented flute runs.
The cover of Halo has Juana Molina’s eyes staring out from the epiphysis of a leg bone: a good visual analogue for the Argentinian’s surreal electronic folk-pop. The album teems with intoxicating rhythms and woozy synths, taking occasional turns towards the uncanny, such as on ‘Lentismo Halo’ with its atmospheric drift and jarring guitars. ‘Calculos Y Oraculos’ is a marvel, its gorgeous bossa nova influenced melody floating over synths that burble and sigh.
WORLD KING AYISOBA 1000 Can Die (Glitterbeat) ●●●●● The latest album from Ghanaian kologo maestro King Ayisoba is a monster. Produced by Arnold De Boer of Dutch punks the Ex, 1000 Can Die foregrounds the trance-like power of the band’s traditional instruments – the two-string kologo and an array of percussion – while judiciously employing electronic textures. Guest spots from Lee ‘Scratch’ Perry, Ghanaian rapper M3nsa, and the great Nigerian saxophonist Orlando Julius are a treat, but Ayisoba is undoubtedly the star, barking out conscious lyrics, peppered with his signature nasal bleats.
WORLD VARIOUS Agrim Agadez: Musique Guitare de la République du Niger (Sahel Sounds) ●●●●● A collection of contemporary field recordings from Niger, Agrim Agadez captures the diversity of Sahel guitar music, from acoustic campfire ballads to fuzzed-out bar bands. Fans of breakout star Mdou Moctar will be excited to hear the guitar hero playing acoustic music with the same qualities of hypnosis and flash as his electric material. Azna de L’Ader’s ‘Hey Joe’, is as wild and hairy as anything from the Japanese psychedelic underground. Mohamed Karzo’s ‘C’est La Vie’ is a singalong gem, while female guitarist Amaria Hamadalher mesmerises with the beautiful ‘Bahouche’. (All reviews by Stewart Smith)
EXPOSURE VISTAS
They’re influenced by the likes of Biffy, the View and Twin Peaks, and their personal interests include ‘choruses’. They’re Vistas. We had a few words with Prentice Robertson (vox and guitar) about what they get up to when they’re not out gaining a reputation for their high-energy indie performances
On their sound Bright, high-energy indie-rock with big choruses.
On songwriting I write the bones of the song and we flesh it out together: that’s what makes Vistas’ sound. My main aim always when writing a song is for it to mean something to someone else. I think if I’ve done that then I’ve done my job as a songwriter. It’s also always great if I can get the song stuck in someone’s head. That’s always a bonus. On who’s killing it right now That would have to be Fatherson. They’ve produced consistently good music for so long now and I can’t wait to hear more and see where they take their band. I also really admire the way they have built their band from the start and I feel they’re a testament to the idea that hard work pays off.
On Scotland’s scene There are a lot of good bands all over Scotland right now from Edinburgh to Aberdeen to John O’Groats, and it’s really exciting to see these Scottish bands becoming more recognised.
92 THE LIST 1 Apr–31 May 2017
On their plans for this year We have a new single called ‘Strong Swimmer’ coming out in April. Then the rest of 2017 is going to be filled with constant gigging, writing and recording. We want to spend 2017 sharing our music with as many people as we can and we hope people will join us for the ride. (As told to Kirstyn Smith) ■ Vistas play Wide Days, The Liquid Room, Edinburgh, Fri 21 Apr.