Isolated by his strange parents, Leon finds solace in an imaginary friend, which happens to be an anatomy doll from his father’s doctor office. Unfortunately, the doll begins to take over Leon’s life, and his sister’s life as well.
The Swedish quartet Goran Kajfeš Tropiques share Tell Us, an album consisting of three long pieces composed by the group, is “slow music” to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner.
The Tropiques quartet consists of Goran Kajfeš (trumpet, synthesizer), Alexander Zethson (piano, organ, synthesizer), Johan Berthling (acoustic bass) and Johan Holmegard (drums) – each a key member in the Swedish creative music scene, with experience from groups such as Dungen, Ghosted, Fire!, Gard Nilssen’s Supersonic Orchestra, Oddjob, plus many more, including Goran Kajfeš’s own Suptropic Arkestra. Their music, groove based and connected to the tradition of “minimalism” has at times been called “hypno-jazz”. Tropiques initially came together in 2011 when Kajfeš was commissioned to compose and perform music to a performance by the Swedish modern dance company Vindhäxor. Since then, the group has evolved in its own ways and independently from, yet informed by, their origins. That is, the experience of creating music together with a strong sense of movement.
All three compositions on Tell Us expand on what the Tropiques have done before, building around their signature style and its spacey texture and rooting the musical narrative in strong melody, rolling groove and their collective limitless urge for sonic exploration. As the opener “Unity In Diversity” goes to show, Tropiques’s compositions are like flowers opening slowly, each element and layer growing out of what has come before, in a constantly surprising manner. This music, then, becomes the perfect antidote for the quick-fix eye candy rolling down your smartphone screen. This music will take its time, but it’ll also create new dimensions with each second as it unfolds.
Releases May 3, 2024 on We Jazz Records.
Glück auf Zeit
Songwriter, theater musician and techno producer LASSE WINKLER releases GLÜCK AUF ZEIT, the first single from the album WELTFLUCHT, which will be released in December 2024. One of his great passions is embodied: being on the move, a breeding ground for the untamable urge for great freedom.
1962 ging ein großer Traum Nana Mouskouris in Erfüllung: Der Produzent und Musiker Quincy Jones bat sie für Aufnahmen in die USA – so entstand das Jazz-Album The Girl From Greece Sings, das ihr zwar die Türen zum amerikanischen Showgeschäft öffnete, allerdings zunächst kaum kommerzielle Spuren hinterließ…
The album draws its sources from sounds and atmospheres which recall experiences close to ambient or post-rock from the 1980s, the Made To Measure collection for example, undoubtedly because of the brass, the imaginary exoticism of a Jon Hassel, the instrumentals of Tuxedomoon or Brian Eno present on his sung albums. The album’s connections with jazz, improvised music and musique concrete or sound art give it a certain (…) timeless singularity with very analog colors.
— Jean-Yves Leloup
On Johnkôôl Records in March 22, 2024.
Martin Rev initially explored free jazz and similarly free forms of musical expression before discovering the magnetic attraction of electronic production and instrumentation, enabling him to create music in a wholly independent and autonomous environment.
Using the most rudimentary equipment, he grafted the roots of rock’n’roll into the process of combining effects and devices to generate electrified sounds, the likes of which had never been heard before. This music would map out the way forward not only for Suicide, but also for a fascinating solo career.
Martin Rev’s predilection for experimentation knew no bounds. At home, he played around with rough ideas, trying out all manner of variations and colorations. These tape recordings provide a captivating insight into his modus operandi, often representing the early stages of what would later become Suicide tracks or cuts on Rev’s solo albums.
Spanning the period 1973 to 1985, the recordings on “The Sum of Our Wounds” are much more than a collection of demos and outtakes. One has the sense of listening to a rounded album of familiar compositions, now portrayed in a completely new light. The brittle fragility of these cassette pieces reveals a deep-lying sensitivity, like a collection of wounds.
Martin Rev himself remains as transfixed as ever by these recordings, as if he could immediately pick up where he left off and continue to expand on the ideas that came to him decades ago: »They often have a certain freshness or unpolished energy here… and (there is) always scope for new ideas, to be derived from them as a whole or even in small areas.«
The cassette medium proves to be more than a means to an end – the tape recorder itself has a role to play as an instrument, the ideal basis for an artist who understands how to condense an idea into its fundamental elements: »The cassette sound, with its individual peculiarities, many even thought of in terms of inferior sound, can have an interesting dynamic. Maybe especially in certain minimal contexts when they are not being overloaded. Although they often seem to take on a lot of texture as well and with a warm response.«
And so these snapshots can be seen as stages of a ceaseless evolution, one we are allowed to witness as we sit alongside Martin Rev at the tape deck, listening as he captures the sounds of the unquiet city.
– Daniel Jahn, June 2023
on Tapete Records.
A doctor, scientist, organist, and biblical scholar, Anton Phibes, seeks revenge on the nine doctors he considers responsible for his wife’s death.
Dr. Anton Phibes, a famous concert organist with doctorates in both music and theology, is believed to have been killed in a car crash in Switzerland in 1921, while racing home upon hearing of the death of his beloved wife, Victoria, during surgery. Phibes survived the crash, but was horribly scarred and left unable to speak. He remade his face with prosthetics and used his knowledge of acoustics to regain his voice. Resurfacing secretly in London in 1925, Phibes believes his wife was a victim of her doctors’ incompetence, and begins elaborate plans to kill those he believes are guilty for her death.
Aided in his quest for vengeance by his beautiful and silent assistant Vulnavia, Phibes uses the Ten Plagues of Egypt as his inspiration, wearing an amulet with Hebrew letters corresponding with each plague as he conducts the murders. After three doctors have been killed, Inspector Trout, a detective from Scotland Yard, learns that they all had worked under the direction of Dr Vesalius, who tells him the deceased had been on his team when treating Victoria, as were four other doctors and one nurse. Trout discovers one of Phibes’ amulets (torn off during a struggle) at the murder scene of the fourth doctor, which takes place while he is interviewing Vesalius. He first takes it to the jeweller who made it, then to a rabbi to learn its meaning. Now believing Phibes may still be alive, Trout and Vesalius go to the Phibes mausoleum at Highgate Cemetery. Inside they find a box of ashes in Phibes’s coffin, but Trout deduces they are probably the remains of Phibes’s chauffeur. Victoria’s coffin is empty.
The police are unable to prevent Phibes from killing the remaining members of Vesalius’s team, so they focus their efforts entirely on protecting Vesalius himself. Phibes kidnaps Vesalius’s son Lem, then calls Vesalius and tells him to come alone to his mansion on Maldene Square if he wants to save his son’s life. Trout refuses to let him go so Vesalius knocks the inspector unconscious, then races to Phibes’s mansion, where he confronts him. Phibes tells him his son is under anaesthesia and prepared for surgery. Phibes has implanted a key near the boy’s heart that will unlock his restraints. Vesalius has to surgically remove the key within six minutes (the same time Victoria was on the operating table) to release his son before acid from a container above Lem’s head is released and kills him. Vesalius succeeds and moves the table out of the way. Vulnavia, who was ordered to destroy Phibes’s mechanical creations, is surprised by Trout and his assistant; backing away, she is drenched with the acid and killed.
Convinced that he has accomplished his vendetta, Phibes retreats to the basement to inter himself in a stone sarcophagus containing the embalmed body of his wife. He proceeds to drain his blood while simultaneously replacing it with embalming fluid and lies down in the sarcophagus next to Victoria. The coffin’s inlaid stone lid lowers into place, concealing it. Trout and the police arrive but cannot find Phibes. They recall that the “final curse” was darkness just before the basement goes dark.
Three years after these events Dr. Phibes Rises Again…