Friday 28 January 2022

ODG154 : Ensamble Desmembrado / Tras Otro Rasposo Deambular

ODG154: Ensamble Desmembrado / Tras Otro Rasposo Deambular


On this new project, Gustavo Madrid decided to mutate one more time and use a new disguise. Once it was Mutantes Melancólicos, then NO:ID., after that Madrid Solo and now it is Ensamble Desmembrado (see also ODG118). 
Following the maxim “more is furthermore” installed for the first album from this project, Gustavo Madrid composed this work of art from the superposition and the piling up of fragments of sound arising from the most diverse sources.
He convened countless friends and fellows to collaborate with on this new project. However, only seven braves had the courage to surrender to the project`s requirements and send him their recordings from such distant lands as Montreal, Berlin, San Francisco, Quilmes, Flores, Palermo and Villa Luzuriaga.
Not to leave out of the picture the fertile lands of the Pampas that have inspired his work so much, he also used a repair workshop in the middle of the province of Buenos Aires in the small town of San Carlos de Bolívar to stock a great amount of sounds that go through the whole album transversely.
Even though the huge production struggles, the second Ensamble Desmembrado`s album took only 6 months to record. As it shouldn`t have been in a different way and continuing with the tradition set out on the first delivery, he offers us a full concept album. Even if this time each of its parts is identified as independent tracks, one can quickly understand that each one of them nourishes, is based and justifies its existence on the rest of the album. When listening to this recording as a whole, the listener will understand how each of the parts depends on the others and that the interaction of the different sound elements that echo here and there all over the album offer a sound landscape where a loop to the infinity is created.
One more time, “field recordings” provided the sound palette for the project. Coloured by an abrasive and piercing sound à la Swans and by an hypnotic cadenza taken from some ethnic music`s tribal mantra, the horizons of the metropolis` sounds expand and the limits for what we conceive as “noise” are blurred. For the first time in Gustavo Madrid`s career, the biggest influence comes from the devotional observation of “remix” albums and the possibilities that electronic musicians find on digital audio edition software to manage to divide, cut, server, slice, mutilate, alter and manipulate sounds to open up to new expressive boundaries.


Gustavo Madrid is the creative force behind several musical projects since his school days: No Mercy, Black Velvet, Maten al Disc-Jockey, Su Real Orden, 69 am, Mutantes Melancólicos, Asustados Unidos, NO:ID., Ensamble Desmembrado and finally Madrid Solo.
Singer. Guitar player. Sometimes, keyboard player. With a certain interest in digital instruments, where he finds versatility and the possibility of breaking through. Always, songwriter and composer of a music hard to put a label on.
Even though he's got soft manners and a good education, he´s rampant, stubborn and untameable. He can be bored of his successes, but he's never bored when he explores and experiments new ways of making music. He prefers a song composed on a single loop rather than a song that repeats past accomplishments.
On his lyrics he doesn't want to tell stories; he leaves that to a short story or to a novel. For his songs, he prefers sentences that act like lashes, images, ideas; that are musical, without a complete or obvious sense and, if it's possible, the ones that can awaken questions to be left unanswered. 
Madrid owns an enviable record collection. He listens to music since he wakes up in the morning until he goes back to bed at night. He has been collecting records since his teenage years. He affirms that when he didn't have enough money to buy new records he tried hard to get onto busses or subways without paying the fare; so he could save, within a couple of weeks, some money to buy another record. 
One of his passions is record cover art. He believes that the moment he takes out the record from the sleeve to put it on the audio system is pure magic and that most of that magic comes from the graphic art giving sense to the whole oeuvre.
In 2020, during the pandemic lock-down, he started recollecting some writings on his experiences with music listening, music creation and record collecting on the blog:
Ensamble Desmembrado on Facebook:

Composed, performed, edited, produced and recorded at El Rosario from February to July 2021 by Gustavo Madrid with the invaluable collaboration from Felipe Madrid and Abel Raimundini on wild an untamed metallic percussion; from Jorge Pablo Almejún, Hugo Díaz, Christophe Gallien, Alejandro Diez del Valle, Juan Ignacio Ferreres, Diego Carreño and Cristian Alberto López on timeless, spontaneous, intuitive, cutting, visceral and sanguine spoken word interpretation.

Digital release on the 28th of January 2022.

Track listing:

1:Arrastra una plegaria
2: Se estanca una lagrima reseca
3: Llega para volver a empezar
4: Multitud en soledad
5: Retumba aquel incesante lamento miserable
6: Palabras para que se lleve el viento
7: Sin tormento ni latido
8: Tres minutos de espera
9: Nadie escapa

And on Bandcamp:

Friday 21 January 2022

OPV017 : Pierre Vervloesem Group / 30 Years of Success


Cover art by A.L.

OPV017 : Pierre Vervloesem Group / 30 Years of Success

Dave Lynch about the album:

Heavy Medal

"It’s fairly safe to assume that the Order of Leopold II medal displayed on the album cover of the Pierre Vervloesem Group’s January 2022 release 30 Years of Success is intended to make an ironic statement. After 30 years creating a massive discography of audaciously outside-the-box music, Belgian electric guitarist Vervloesem probably does deserve some sort of medal pinned to his lapel as a signifier of “success.” In today’s music-consumption world however, he’s unlikely to have amassed the necessary hundred billion streams or downloads, and he’d also likely need to fit into a commercially recognized stylistic category rather than putting his own unique spin on nearly every style imaginable.

So never mind a narrow little “Best Fusion Guitarist” medal for Pierre: he's too all-over-the-map, thankfully in a good, Vervloesem way and not a horrific, Leopold way. During these Covid times, the guitarist’s engineering and multi-track arranging and mixing skills in home studio isolation, not to mention his mastery of MIDI technology, have enabled him to release (once per month during 2021!) digital albums influenced by everything and everyone from Indian tala music to TV soundtracks to world folkloric dance to vintage electronica to “fourth world” trumpeter Jon Hassell.

But, maybe now in particular, it might be fun to slam out some blistering jazz-rock-prog-metal-improv-whatever with a real live band — always an important thread in Vervloesem’s career anyway — and put said band through its paces in the studio and on tour (as safely possible as the pandemic drags on). Hence 30 Years of Success: both a career-retrospective album and a potential core live set for the Pierre Vervloesem Group.

The 14 instrumental tracks (including two bonuses for the digital version) revisited on 30 Years of Success reveal that the album is actually a ten-plus-year retrospective more than anything, with Vervloesem’s hard-edged quartet — featuring the guitarist joined by saxophonist Bruno Vansina, bassist Nicolas Dechêne, and drummer Renaud Van Hooland — mainly tackling tracks from 2019’s Artiste International and two “band” offerings (both of which also featured Vansina): 2014’s Undeletable by the Simple quartet and 2010’s Sketches of Pain by the Caca octet. (Pierre subsequently re-released the latter two albums in remixed editions.)

For one choice track, “Nullo Problemo,” the album does leap all the way back to 1994. That’s when, with Pierre already kicking up dust as guitarist for Peter Vermeersch’s manic avant jazz-rock outfit X-Legged Sally (beginning with 1991’s Slow-Up), he pulled a few XLS members into his personal orbit and stepped out with Home Made, an energetic, tuneful, yet diversely exploratory solo debut that charted some of the directions he would build upon in the years and decades to follow. Home Made’s original version of “Nullo Problemo” was a multi-sectioned and ultra-tight mini-epic, and it’s brought into even sharper focus here, beginning with Pierre’s sprightly, hand-muted melody before careening through abrupt tempo shifts, blasts of dissonance, guitar-sax tandem themes and inspired solos, all executed with the skill of seasoned musicians joining together as a single-minded unit on the same precise wavelength.

Undeletable was one of Pierre’s most amiable outings, and featured him on bass rather than guitar. The album’s four tracks heard here, starting with opening salvo “Belgian Triumphalism,” provide the guitarist an opportunity to cut loose with spiraling, noisy, spacy, and sometimes fearsomely incendiary fretwork absent from the 2014 originals, pushed along by the more hard-rocking rhythm section of Dechêne and Van Hooland, whose contributions to Vervloesem’s world date back to the mid-aughts when the twosome dug a sharp and solid foundation for 2005’s Rude.

The five tracks from 2010’s Sketches of Pain shift the emphasis from that album’s XLS-flavored horn section accents and punctuations (which included Vansina on blurty baritone sax) to the current quartet’s more compact sonic footprint, while sacrificing neither the Caca lineup’s multi-saxophone power nor “Schizoid Man” tightness on the herky-jerky insanity of a track like “Zgrol.” But the medal for sheer heaviosity goes to “Exposé,” with its insistent slow rhythmic pound, Zappa-esque guitar-sax unison theme, and screaming signal-split crescendos. Vansina is a lesser presence on the three tracks from Artiste International, the 2019 Vervloesem solo outing that also featured Swedish drummer Morgan Ågren (Mats/Morgan Band). The tunes hint at the studio tweakage of the originals, but not to the detriment of their live-wire immediacy fitting comfortably amongst the other tracks of 30 Years of Success — in fact, Pierre’s burning, soaring solo on “Chapatta” is a highlight of the entire collection.

At the time of this writing, it’s impossible to foretell whether some doomsday variant will send music fans back into their hermetically sealed life pods to enjoy their favorite pastime via tiny speakers stuffed into their ears. Hoping for the best, though, fans of no-holds-barred medal-worthy guitar heroism are advised to scan their local arts & entertainment calendars for possible appearances by the Pierre Vervloesem Group. A live-music opportunity not to be missed! And whenever we might find ourselves locked down in claustrophobic interior spaces, at least we might hope that Pierre Vervloesem will keep churning out a globe-trotting array of boundary-ignoring musical adventures, so that we can embark on journeys into previously unexplored regions…if only in our minds."

Dave Lynch - August 2021.

Pierre Vervloesem :Guitar

Bruno Vansina : Sax, Synth

Nicolas Dechêne : Bass

Renaud Van Hooland : Drums

Physical and digital release on the 21st of January 2022.

Track Listing:

1: Belgian Triumphalism

2: 2 Degrees

3: Brajil

4: Exposé

5: Mental Mento

6: Hop Hop Hop 

7: Low

8: Twist

9: Nullo Problemo

10: One Of These Doris Day

11: Zgrol

12: Wobeling

13: Chapatta - Bonus track

14: Deliver us from the Aliments - Bonus track

And on Bandcamp:



Friday 14 January 2022

OVD054 : Les Boucles Absurdes / Belgian Summer

 Cover art by A.L.

OVD054 : Les Boucles Absurdes / Belgian Summer

The new album from Les Boucles Absurdes is based on the terrible events that occurred during the 2021 summer in Belgium. Rain, cold, floods, mud, storms and the rest of the titles depict what was the worst time ever in the country.

No words to add, just listen!

all tracks by Jean-Pierre Jonckheere & Pierre Vervloesem
Recorded at Zottecrolle Studio &  Studio Fiasco
Mixed at Studio Fiasco

Digital release on the 14th of January 2022.

Track listing:

1: Rain
2: Cold
3: Clouds
4: Plicploc
5: Hailstones
6: Mist
7: Storm
8: Flood
9: Sinkholes
10: Mud
11: Tornado

And on Bandcamp:

Friday 7 January 2022

OJP064 : Wataru Iwata / 0 to 9


Cover art by AGATSUMA Yuuki

OJP064 : Wataru Iwata / 0 to 9

New electronic avant-garde album from electro acoustician Japanese wizard Wataru Iwata (see also OJP038OJP039OJP041OJP042OJP044OJP050 et the fabulous OVX018).

From Wataru San words:

"「0 to 9」is not the album for the concept. It is rather daily practices of daily thoughts that consisted with 16 tracks, scattered visions of short stories lay. They are composed in between 2015-2020 at Yatsugatake mountain chain.  Enjoy. "

Wataru San

Digital release on the 7th of January 2022.

Track listing:

1: Reflection
2: A drip into the pool
3: Basso Continuo
4: Ambient noiz
5: Indigo in the dessert
6: Gate to the heaven
7: More Like a dream
8: Parhelion
9: Fogdog
10: Radio-Activity
11: A spring in the bottle
12: The wheel of time
13: To and Fro
14: Sauvage (long version)
15: Image en Sépia
16: Pellucid as Black

And on Bandcamp: