Immerse - Periskop - Immerse (File, Album)

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Architecture Oxbridge Research Programme years. Business Management Online Insights years. It's looks a bit like a surreal image, but in all fairness I am not really taken by the whole surrealist thing. It always seems to refer back to places and times which were hardly the times of the creator: say, for instance, the ball room dances of twenties in a far away American city, or the talking dolls in an empty house, covered with fog and oho… suspense.

Take an old 78 rpm record, make few loops out of it, add some reverb, some children voices whispering 'I'm so alone; big tree don't hurt me' add more reverb and you're half way a surrealist record. It made me all the more curious what Truus would do on her disc. I really enjoy her recent Plus Instruments releases see for instance Vital Weeklywhich are synth and sequencer heavy along with Truus' voice. On this release, as Truus, the rhythms are derived from a farfisa organ and she sings, but also adds weird, other sounds.

She still plays songs however and doesn't depict the haunted house scenario. A lyric about 'Monster' 'you are a monster' is a bit tacky of course and some of it harks back to that ballroom atmosphere, such as 'Bird In A Gilded Cage', but I like the way she processed her voice on this piece.

That sounds very much Truus like, so that was good. For each of these songs the dance is mentioned on which the rhythm is based, waltz, salsa, tango, pasodoble, latin etc.

It had all the trademarks of a great Truus de Groot release, funny, dance like, poppy and a bit odd from time to time. With or without any surrealism. Long pieces with many layers of sound, but not with too much compositional idea behind it seemed. This new release has nine tracks, and last just under thirty minutes, so stuff has been trimmed down quite a bit.

It makes the music all the more interesting, I think. It's hard to see all of this in terms of instruments being played, despite what Adaadat lists in that department.

If anything I would say that Kayaka samples the hell out of all sorts of sources, lifted from the Immerse - Periskop - Immerse (File environment old vinyl, TV snippets and put synthesizers, rhythm machines and field recordings and thus creates some fine plunderphonic results. While nothing lasts on end here, it actually sounds great. Kayaka moves all around the place with, from happy songs like 'Piper's Rats' Album) also one of the pieces in which she sings to the feedback intro of 'Pickled Tango' and the moody world 'Who Knows Amelia'.

See: all over the place and it's all very entertaining. Mildly fucked up at times, but that's the world of Adaadat I guess. Would be good to see this in concert. Last week I reviewed a Dead Neanderthals release with a lot of Immerse - Periskop - Immerse (File and remarked that Colin Webster was the oddball guest for me in that release. Pure coincidence of course that I now get a new trio with him on saxophone, along with Graham Dunning, who plays the turntable, playing dub plates of field recordings, dentistry tools and other objects and Sam Underwood on tuba.

When there is a tuba around in the improvised music scene, one of the words that spring to mind is 'drone'.

I guess it's not easy to avoid that instrument to produce such low-end sounds, and with the right breathing technique, to make it sustaining. Combined with the saxophone playing of Webster this leads to some wonderful results and not always, perhaps, pure atmospheric results, such as they proof in 'Grapefleckserpent'.

Dunning provides some raw textures of a turntable needle scanning a rough surface, while the two wind instruments play some wilder stuff, almost leaning towards free jazz. The tuba keeps things on the low end most of times, which is great: it adds a fine bottom end to the music.

A wonderfully rich release of improvised music, in which a lot of ground is covered and which makes up a highly varied release. The last time I reviewed something by Hamilton Yarns, 'The Orchard' in Vital WeeklyI complained about the cover, but I later understood this was indeed a promo version. Now I get a new release and it comes with a great Risograph cover on the outside and both discs are in shiny sleeves.

This is their 15th album, all self-released. I am not sure why they put this out as two disc package as each disc lasts only twenty-five minutes. I didn't review all of their fifteen releases, but by now heard quite a bit of their music, and I wonder about this: why were they never picked up another label, effectively promoting their music to a wider audience?

This big band of six members playing a variety of instruments such as guitars, clarinet, keyboards, percussion, cornet, accordion, violin, hardanger and all of them submitting voices, makes them nothing less than any of the other alternative pop and folk bands I know, especially the likes on Static Caravan.

Hamilton Yarns is a bit more adventurous, a bit more avant-garde perhaps, which is something that has been developing over the last few releases. Less pop, but it has that intimacy of folk music; perhaps coupled with the somewhat lo-fi production, adding that particular charm to the music. In 'Across The SKY' as spelling goes there is Album) cornet waving about and the whole band plays a bit of a charming lo-fi psychedelic.

Sometimes they don't need any words and paint a picture with a few sounds from outside, some instruments and that's it, such as in 'Hello'. Hearing all of this doesn't make it clear to me why this had to be split into two separate CDRs; why not all of this on one disc and make a great long playing album for uninterrupted hearing? I think that is just one of the mysteries of this band; perhaps as much as a mystery as why they firmly stay independent. There must be a good reason for it!

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