LP (edition of 500)
CS / CD (editoins of 100)
SONIC MEDITATIONS RELEASE
Released in a pressing of 500 on mauve, red and black splatter wax with embossed DD insert.
The LP features 3 extended jams from the latter days of the working relationship between mainman Justin Wright and Matt Hill (prior to his wonderful recordings under the ‘Umberto’ moniker). Recently unearthed by Justin specifically for this vinyl release (although watch out for an extended version for cassette only later) the set starts with the wonderful zoned out pulse of “Acerbic Lament” interspersed by JW’s piercing guitar tones and textures.
“Winter of Discontent” is more organic, otherworldly and in places reminiscent of some of the early Popol Vuh catalogue. The reverse features the epic sidelong “Ceremony of the Blind”; constituting 3 parts and to these ears represents one of the finest sides to the huge Expo 70 catalogue. A compelling cosmic soundscape punctuated by evolving waves of carefully constructed synth and guitar drone with flurries of percussive pulse, particularly on the closing section “Eternal The Night”.
Another essential addition to the ever growing Expo 70 collection- a one off pressing on gorgeous colored wax with 2 inserts in awesome JW designed sleeve, with insert by Tim Goodwillie.
CS edition with 2 bonus tracks out late October on Sonic Meditations, edition of 100. Digital download available with cassette.
dyž se v Praze řekne EXPO, téměř každý vzhlédne směrem k Letenským sadům, kam dnes již bývalá restaurace EXPO '58 navržená pány Cubrem, Hrubým a Pokorným byla po svém bruselském úspěchu převezena. Architektonický skvost pyšnící se řadou dalších ocenění, který letos oslaví 55 let od světové premiéry. GRATULACE!
Když se ale EXPO řekne ve spojení s Justinem Wrightem, bývalým členem losangelských Living Science Foundation (LP Last Call For Nightfall, 2003 Second Nature Recordings), zbystří navíc ještě fanoušci experimentální hudby. Podobně jako EXPO v Ósace, tak i EXPO '70 nabízí to nejlepší, co ze svého oboru a archívu snad padesáti titulů (GRATULACE!) může nabídnout. Zítra vycházející album Filer à l'anglaise je složené ze třech skladeb nahraných v letech 2008-2011 společně s Matt Hillem, kterého pod pseudonymem UMBERTO poznaly už i tuzemské kluby a jehož kazetovou verzi Prophecy of the Black Widow podpořilo právě vydavatelství Justina Wrighta Sonic Meditations. Značka, zatraktivňující nádherný kosmický balíček Deep Distance (12", 500 ks) o další dvě skladby, dostupné na kazetách (+download) již od 22. října.
RAISED BY GYPSIES
Before I began listening to this tape, I read that the songs on it were improvised. I fully support the idea of having improvised music, as far as not performing it in concert and re-creating it on that level. It’s kind of funny when you think about music in that way isn’t it?
Nearly any other art form you can name doesn’t require repeat performances. Sure, there is the theater, but not movies. I could never imagine someone going on a book tour and having to show the crowd how they wrote their latest novel. You’d hear things like, “Ohh, he’s about to go into the cliffhanger before Chapter 6!! Get your lighters in the air, people!!”
Maybe those mediums also aren’t improvised in the sense that movies have many takes and books have drafts (I assume but wouldn’t know because I’m a One Take Wonder) but what about painting? You can erase things to an extent, but sometimes it’s just improvising.
No matter what all of those paragraphs might have rambled about, I do like the idea of having a piece of music that is finite in the sense that you say, “Here it is recorded, listen to it” and then don’t attempt to recreate it live.
It reminds me of how photographs catch those split seconds in time.
In any event, this is experimental; electronic to an extent instrumental music but the fact that it’s being made up as it goes is just impressive to me. There are distorted waves and synth. It has many of the same characteristics as its fellow genre friends, but there does seem to be a bit more guitar work in here than expected.
The guitar riffs are actually nice for something that was practiced and recorded over several takes in a studio, so the fact that this was so spontaneous continues to blow my mind.