Beat

Frank Nuyts is a force of nature. A Belgian composer with classical roots who flirts with jazz, progressive rock and Zappa bite. "Radical Risk" is perhaps his most exemplary mestizo work in the unification of all these musical worlds. Supported by his oustanding musicians (the three D's: Dhaene, Deldaene and Debruyne) and reinforced by the excellent pianist Liang-yu Wang, the result is an absolute storming piece of work that feels relevant and groundbreaking. Truly astounding and an absolute revelation on numerous levels, “Radical Risk” is an absolutely engrossing effort and one of those records that tells you everything you need to know about Frank Nuyts and why he’s remained a vital force in the landscape of "radical music". Issued by áMARXE, the predilect son of Margen Records. Just about as essential as they come and nothing short of a ten out of ten.This one is not to be missed.

With their debut CD Tala Matrix, the project known as Tabla Beat Science has essentially taken the rich and time-honored tradition of the tabla (a pair of North Indian hand drums) and fused it with contemporary electronica studio wizardry. Tala Matrix is dedicated to the memory of the late, great, and innovative tabla virtuoso Ustad Alla Rakha (1919-2000). The Tabla Beat Science project is comprised of one of Ustad Alla Rakha's sons, the tabla superman Zakir Hussain. Additional members include the venerated sarangi player Ustad Sultan Khan; Indian and jazz percussion innovator Trilok Gurtu; New York drummer Karsh Kale; bass, drum, and tabla visionary Talvin Singh; and music programmer Brad Somatik. Producer/bassist Bill Laswell, who "conceived and constructed" the CD, acts as the catalyst for the outfit, adding the bottom end with his dub basslines and the overall aesthetic with his studio prowess…

Scottish-born singer Jimmy Somerville became a surprise success in the mid-'80s. Instead of being Duran Duran-cute, Jimmy Somerville looked like the average boy next door. Instead of belting out his musical repertoire with a self-conscious urgency to prove himself as a singer (like Rick Astley or George Michael), Somerville possessed a dramatic, piercing falsetto that made the Associates' Billy Mackenzie sound like Tom Waits. But what really made Jimmy Somerville distinctive was his openness about his sexuality. The 1980s was the decade of androgyny, with artists like Annie Lennox, Boy George, and Poison emulating the gender-bending approach of 1970s-era David Bowie. Other performers such as Morrissey and the aforementioned George Michael kept their fans guessing about their sexual orientation.

The works on this recording range from Danzig (now Gdansk) by way of Güstrow, Hamburg and Gottorf to Copenhagen and Stockholm. Born in the early 17th century, the choirmasters and Kapellmeisters of the Lutheran churches and courts of the North had ideal working conditions. They were greatly indebted to a composer from the preceding generation, Heinrich Schütz. His activities as a teacher, and the sheer volume of his published works, exercised a decisive influence upon his students and emulators. From the beginning, singing meant language and life, religion and emotion for Beat Duddeck. Through singing on concert tours all over the world and more than 100 CD productions with various early music ensembles, he found not only his profession, but also family and friends. This CD, too, is intended to reflect this to some extent, and its intimacy is a matter close to my heart.