Fake Seori

Over the past 15 years, German electro act Solar Fake has been on the scene, releasing five albums and a handful of EPs full of their brand of aggressive yet melodic music. Enjoy Dystopia comes three years since the last studio album, offering a solid follow-up to 2018’s You Win. Who Cares? with a bit more aggression added into the industrial/electro-pop mix.

After 'Another Manic Episode' released in 2015, Solar Fake are back with their new album 'You Win. Who Cares?'. To me, this is one of their darkest albums in terms of lyrics and you can literally feel that they put a lot of strong emotions in it. Frustration, sadness and mere anger are beautifully woven into melancholic and sometimes quite aggressive lyrics, accompanied by those typical Solar Fake beats intertwined with bittersweet piano chords.

On 2008's Broken Grid, his first album under the group name Solar Fake, German synthesizer player and singer Sven Friedrich covered Radiohead's "Creep," one indication of his musical taste. A more telling one comes with the cover he's chosen for the second Solar Fake album, Frontiers, a version of Talk Talk's 1984 hit "Such a Shame." Friedrich's all-synthesizer dance-rock sound is very much rooted in ‘80s antecedents, including not only Talk Talk, but also, and especially, Depeche Mode, who are evoked in the opening song, "Under the Skies."

Sven Friedrich has done it again. A side project of the vocalist for Zeraphine and Dreadful Shadows. Sven Friedrich is holding Solar Fake's debut album, Broken Grid, to the same standards as the rest of his music, but in a very different way.

This two-fer brings together two key Gary Burton Quartet works of the the late '60s. After 1967's Duster, the Quartet went on to collaborate with composer Carla Bley on A Genuine Tong Funeral, a quirky, mordant jazz "opera" that owes as much to Kurt Weill as to Charles Mingus. Besides Burton, guitarist Larry Coryell, and bassist Steve Swallow, the free-spirited drummer Bob Moses makes his appearnce, having replaced veteran Roy Haynes. Other Bley stalwarts include saxophonists Gato Barbieri and Steve Lacy, who pop in and out of the vivid cartoon-like musical narrative.
The shaggy Moses is key to the musical feel of Lofty Fake Anagram, the official follow-up to the outstanding Duster. With the exception of Duke Ellington's "Fleurette Africaine" however, the writing isn't quite as strong as on the previous date's…

Gary Burton - Lofty Fake Anagram (1967) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 4259}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 221 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 28 Mb | 5% repair rar
© 1967, 2014 RCA / Sony Music Japan | SICP 4259
Jazz / Post Bop / Modal Jazz / Vibes

Reissue with the latest 2014 DSD remastering. Comes with liner notes. A standout classic from Gary Burton – the kind of fresh-voiced and angularly modern session that showed why his sound on the vibes was one of the most revolutionary in jazz at the time! The session features a quartet with Larry Coryell on guitar, Steve Swallow on bass, and Bob Moses on drums – all working in a style that's got touches of modal jazz, and fragments of the Walt Dickerson sound – yet which is also a bit looser, freer, and more spacious – all without going too far "out".