There’s no question that Manchester’s Dead Sea Apes have made an impressive footprint in the world of heavy psych. Things change quickly from there though. Relying more on gravity - and gravitas - the heaviness of Dead Sea Apes is far beyond an arbitrary turning up of the volume knob and a trip to the the guitar shop for just one more fuzz pedal. Underneath the slow-burn bone-rattlings and rumblings, there’s a deliberateness and nuance to their catalogue that sets them apart from other bands that traffic in bringing the ‘heaviosity’. While their influences and methods may not be obvious to the casual listener, it’s the deep divers that Dead Sea Apes speak to…
Sven Väth is looking relaxed. The global House and Techno scene continues to define his life but he deals with it now at his own pace. To his mind, all that stuff is not only brimming with life but also directed by a higher order or even by the kind of “soul” familiar to us from older historical genres such as Jazz or Blues.
The new Sorrentino's TV series is already a success and, as usual, the choice of the soundtrack is profound and extraordinary. The Young Pope soundtrack mixes classics with electronic music, forgotten Italian songs (Nada "Senza un perchè" / Roberto Murolo "Era di Maggio") with Jeff Buckley, Max Richter, John Adams, Bela Bartok, Antonello Venditti, Jefferson Airplane and Domenico Modugno. A mystic experience.
Eventyr means “adventure.” Classical listeners may also recognize it as the name of Frederick Delius’s lovely 1917 tone poem, which is often translated as “Once Upon A Time” to underscore its origins in the folk tale collections of Norwegian scholar Peter Christen Asbjørnsen. Here, the name adorns one of Jan Garbarek’s most recondite efforts to date and, like its own “Once Upon A Time,” houses a world of lessons and signs for those willing enough to interpret them. Joined by John Abercrombie and Nana Vasconcelos, he spins a string of seven improvisations, rounded out by a standard, “East Of The Sun And West Of The Moon” (Brooks Bowman), that doesn’t so much end the album as open us to its nebulous center.
Perhaps I should begin by reminding readers that Krysia Osostowicz (of Polish descent) and the Edinburgh-born Susan Tomes are founder members of Domus—the group whose debut recording of Faure's two piano quartets won them the Gramophone Chamber award in 1986. And once again these two artists affirm their very special affinity with this French composer. It is a record I can recommend without reservations for its style and conviction, as also for wholly natural tonal reproduction (Andrew Keener and Antony Howell) and discerning programme-notes (Richard Wigmore).