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nichol_the_pipe_1973-30

Omnivorous, dub-diffused, modal electronic jazz skronk by Chris Hontos and Aaron Anderson’s Nuke Watch ensemble, hitting square between the zonked eyes of Ka Baird, Spencer Clark hallucinations, Treader curios, or Drone Operatør audness

Back with a 2nd helping on TTT, Nuke Watch chase 2021’s eponymous introduction with a deliciously delirious new suite of ribboning sax and flute lines threaded thru lysergic electronic fractals and rhythmelodic tumult. The sound is a naturally playful and a logical extension of their work with psych units Food Pyramid, Dreamweapon, and Night Court, and as Beat Detectives. It brings all those group’s styles – and some of their personel – together for a richly polychromatic and semi-organic expression of what could loosely be described as outernational future jazz.

Fathoming a sound that reaches from the modal jazz-dub dervish ‘Mutually Assured Destruction’ to 12 minutes of sampledelic, aqueous exotica on ’Sun Cage’, Anderson, Hontos and co have our attentions rapt for the duration. As implied by their moniker, the group’s sound feels like staring into the sun for too long and doesn’t take itself too seriously, leaving a swirling impression on back of eyelids between the bittersweet psych-folk lash of ‘Lord of the Flies’ and soothing open window jazz projection ‘Portal of Corruption’, while cycling thru all styles across the 12 minutes of 4th world flight in ‘I Was Dead’, syncing minds to the lushest swelter on ‘Leonard’, and knitting processed wind and strings with subbass drops and psychoactive dubbing on ‘Anti Work’.

TIP!

Thanks Boomkat!

map2map

Lamin Fofana & the Doudou Ndiaye Rose Family

“Epic, grooving, dazzlingly creative, perfectly attuned blends of complex mbalax drumming, field recordings, thumping kick-drum, and cosmic, bubbling, jamming synths and electronics.
The opening is suitably liminal, haunted by a diachronic sense of times past, present, and to come: ancestral ghosts, scratched playback, scraps of old recordings, voices strangulated or just out of range; puttering drums; futuristic, kosmische keys. Part II picks up the pace; III gives the drummers some, and heightens the atmosphere of enchantment. Jon Hassell’s Fourth World music courses through a kind of Dream Theory In Dakar.
Toco SOS, the second side, is a thumping, throbbing, mesmeric future-classic; perfect for fahr’n fahr’n fahr’n on the Autobahn… in a spacecraft. Expert hand percussion, call-and-response singing, bin-trembling foot-drum, spaceways keys. Sleekly funky as prime Popol Vuh.
Both sides range expansively by way of Berlin, where Lamin resided for a few years: you can hear something of T++’s brilliant, landmark HJ record on the A, and elements of Mark Ernestus’ crucial Ndagga project, on the B.
Half an hour of stunning music; in a beautiful sleeve, with mirror lettering, and an intricate spot-gloss rendition of salt crystals, laid over a photograph of the salt mines at Lac Rose, outside Dakar.”

Cherry Rope (Card Market)

Batata mixtape

70 copies only

Model Workers – Cry

Gizon Berria