Moments of Ecstasy

Exciting accounts of eight anthems spanning nearly two hundred years, with a welcome emphasis firmly on recent works.

Prepare yourself for the powerful sounds emanating from the new Acid Mothers Temple The Melting Paraiso U.F.O. chapter! With a renewed and strong rhythm section featuring two young and extremely talented Japanese musicians Satoshima Nani on drums and Wolf, on bass and the one-of-a-kind vocalist Jyonson Tsu, the master guru Kawabata Makoto is clearly re-energized and totally in sync with his cosmos.

Safe in the Hands of Love is the third studio album by American musician Yves Tumor, released on September 5, 2018, through Warp Records.

Five albums and gazillions of singles into Pain's existence, it's still difficult to accept the fact that this industrial music project is actually helmed by extreme metal producer extraordinaire Peter Tägtgren, but Psalms of Extinction (that fifth album) adds another few layers of belief - even if it gets off to an inconspicuous start. With little more than a jagged metallic riff to counter its robotic dullness, first track "Save Your Prayers" pretty much falls flat on its polished chrome face, but next cut "Nailed to the Ground" turns the ship around with a more danceable beat, groovy Rammstein riff, and a surprisingly catchy singalong chorus. Somewhat surprisingly, it's this particularly accessible formula that usually produces the album's best moments when repeated for ensuing tracks like "Clouds of Ecstasy," "Does It Really Matter," "Just Think Again," and "Bottle's Nest"…

On their first album in seven years, the New York fusionists tap into a welter of global styles; the result is soft-edged and idyllic, yet hides a subtle political undercurrent.

Don Ellis' Orchestra is heard at the peak of its powers on this Columbia LP. "Pussy Wiggle Stomp," a variation on "My dad's better than your dad" but performed in 7/4 time, became the band's theme song, and it has its riotous moments. The 19-and-a-half minute, six-part "Variations for Trumpet" is a major showcase for Ellis, "Scratt and Fluggs" is a brief bit of silliness, and the relatively straightforward "K.C. Blues" features altoist Frank Strozier, John Klemmer on tenor, and keyboardist Pete Robinson. However it is the 17-and-a-half minute "Indian Lady" (a live remake) that really finds the band going crazy. Ellis, trombonist Glen Ferris, and keyboardist Robinson play humorous solos before tenors John Klemmer and Sam Falzone engage in a long and nutty tradeoff that is often quite hilarious. The many false endings at the end of this performance add to the general atmosphere. This is a classic release.

A complete survey of Ravel’s piano music is an especially challenging prospect for any pianist. It is not merely that this sublime music frequently demands exceptional, post-Lisztian virtuosity. Beyond such dexterity is the fact that, as Steven Osborne observes in this recording’s booklet, the composer’s fear of repeating himself ensure that the lessons from one work can rarely be transferred to the next. This is not merely the aesthetic change from the nightmarish imagery of Gaspard de la nuit to the elegant neo-classicism of Le tombeau de Couperin. Ravel essentially re-imagined how to write for the piano with each significant work. Osborne is more than up to the task. The contrasting fireworks of the ‘Toccata’ from Le tombeau and ‘Alborada del gracioso’ (Miroirs) are despatched with relish, the piano exploding with power in the latter after a disarmingly impish opening. The Sonatine has a refined insouciance, while the love bestowed upon each note is clear. Then there are the numerous moments of sustained control, such as the shimmering opening pages of Gaspard. Sometimes changes of spirit occur effortlessly within a piece. Having been a model of clarity in the ‘Prelude’ from Le tombeau, Osborne treats the codetta not as a brisk flourish, but as if this particular vision of the 18th century is dissolving beneath his fingers.