London-based French vocalist Angele David-Guillou has previously made appearances on recordings by Piano Magic and the duo Ginger Ale, but this eponymous debut delivers the powerful simplicity of her voice in full force. Klima's music frames that voice in swathes of electronics as well as more conventional instruments (predominantly electric guitar), calling upon the mixing and production talents of Laika's Guy Fixsen and Piano Magic's Jerome Tcherneyan respectively. Angele is also joined by Psapp's Gwen Cheeseman, who provides the strings on the album - it's quite the who's who of indietronica. Of all the tracks here, 'Neverending' is the most impressive piece of production, the swooping strings and distorted backing vocals are a clear venture into Bjork's territory with marching electronic beats directly referencing the Icelandic pop queen's 'Hunter'. 'Lady of The Lake' is similarly elaborate, the otherwise upbeat arrangement cloaked in a misty reverberation that darkens things up nicely. In fact, much of the album is sewn together from fragments of electronic instrumentation and grandiose strings, but it's the remarkably straight-forward 'Fluorescent Stars' that provides possibly the most instant, most memorable song on the album: it's a combination of bare electric guitar arpeggios and a wordless vocal hook that proves to be the most emotive moment here.
Well, for those of you that might know my tastes, you'll know that it was the cover art that stopped me in my tracks.
Ghetto Beats On The Surface Of The Sun isn't your grandma's Tarentel. It will eat your face, make you shake your ass, with a healthy dose of psychedelic fever and blast off moon landing thrown in for good measure.
A Korean sound/video artist, Nam June Paik first piqued the world's attention through a trickle of tape recordings that were so rare they were soon mentioned in hushed tones and changed hands for daft money. Fast forward to now an... A Korean sound/video artist, Nam June Paik first piqued the world's attention through a trickle of tape recordings that were so rare they were soon mentioned in hushed tones and changed hands for daft money. Fast forward to now and the friendly folk at Sub Rosa have decided to re-release this collection of work from Paik, all of which was recorded between 1958 and 1979 and lurches from the avant to the populist and back-again - all before you have chance to fully comprehend what's happening. Opening with 'Prepared Piano For Merce Cunningham', Paik initially augments the sparse ivories with a hissing bed of field recording that frames the spasmodic percussion perfectly. Clocking in at almost 30 minutes, 'Prepared Piano...' is expertly judged in taking an outwardly austere selection of elements then making space for them to unfurl their wings at a leisurely pace - hence dragging the listener deep within the composition. Whilst this is no-ones idea of easy-listening, the rewards which can be earned from the manipulated vocals of 'Hommage A John Cage' and delicate piano of 'Dueet Paik/Takis' are well worth breaking the brittle surface skin for, with Paik proving to be a genuine visionary who was well ahead of his time. Paik and ride!