Although created in a studio setting that live in the moment feeling and dynamism is authentically recreated on this album. Kaito's griot ancestry and the band's motivation is a spontaneous escape from the addiction of the online world, a reconnection with the ritual of a live performance.
John mails musique free#
Within that space, you'll not only hear super charged traces of post-punk but the tribal, free jazz, prog, and industrial-electronica as well. With the help of the visual language program PureData (an open-source apparatus for creating interactive computer music and multimedia works) and his pummeling, rattled drumming, Benjamin and his sinewy bassist foil Arnaud create an effective torque and tumult for Kaito's commune with his roots and life in a very different bush of ghosts. Although the album is being released six months after the debut Dabalomuni EP showcase, the guitarist from that extraordinary otherworldly session, Nico Gitto is now part of the transformed setup not so much replacing Paquotte as expanding the sound into another direction. Through a twisting sequence of events, the trio eventually met and began developing the sound world of ancestral proverbs and dataist inspired technology that defines the album. Urban griot and multi-instrumentalist Kaito Winse (vocals, tama, peul flutes, mouth bow) fortuitously collided with Brussels noise punk musicians Benjamin Chaval (drums, electronics) and Arnaud Paquotte (bass) from the group Le Jour du Seigneur, after a friend of theirs in Burkina Faso played Kaito some of the duo's pummeling music. A palpable experience with each sonic blast, each layer a revelation, this simultaneously taut but expansive universe, in which the oral traditions of the West African griot converge with Belgium post-punk, exists in its own space. Emerging from an original dimension in sound, the polygenesis Avalanche Kaito redefine what it is to talk with the ancients whilst leaping forth into a futuristic chaos of noise on their debut album journey.
John mails musique full#
A mysterious matrix that echoes disparate (but strangely compatible) sonic strands: deep griot traditions, Fugazi, Can, '70s era Zappa, Black Midi, the full throttle rush of Nyege Nyege Tapes. Previously unpublished photographs by Pat Ireton. Personnel: Dredd Foole - guitar, vocals Roger Miller - organ, guitar Clint Conley - guitar Martin Swope - prepared bass Peter Prescott - drums. Select live at the Channel 8/9/82, previously unreleased. The studio effort is balanced by a lo-fi selection of the project's astounding live debut from later that year, captured on cassette.
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Radically remixed/fully mixed from the original master tapes, remastered, and with the full cooperation of Dredd Foole and Mission of Burma, this first archival effort surfaces the entirety of that blistering studio session, growing it to near-album length and presenting a full picture of the Din's sound. Until now, the only documentation of Dredd Foole and Mission of Burma's nearly two years of lowkey collaborative activity - the celebrated band's sole collaboration during their initial incarnation - was a two-song 7" single.
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That this was achieved with such rock action is testament to the power of those involved. He sought to engineer maniacal and spiritually-frenzied bursts of raw aliveness.
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Dredd's approach was radical even by the underground standards of the day: only the chords and some lyrics were predetermined, yet the songs were recorded in one take, without rehearsal. During an era of peak corporate control on popular music, when guitars were in the closet, improvisation was in retreat, and the flames of fire music were dimming, Dredd Foole and the Din emerged as part of a new underground kicking against the pricks, holding the line with the firmly clenched spirit of The Stooges, The Velvet Underground, and the newfound freedoms of the DIY post-punk landscape.
John mails musique series#
Dempsey presents the first release in an ongoing series that will reconstruct the legacy known and the legacy damned of the most overlooked and under-documented American free rock unit, Dredd Foole and the Din. After an exhaustive approach in which hundreds of live, studio, home, and private performances have been located and reviewed over several years, Corbett Vs. They would never tour and lacked ambition, so their powers were largely witnessed by a cloistered Boston scene. Forty years ago, in February 1982, Dredd entered the studio with Mission of Burma, stepping off a remarkable decade of post-punk activity that drew comparisons to The Stooges, Tim Buckley, and various outsider musicians. While Dredd Foole would stamp his legend as a foundational figure in the New Weird America free folk underground of the 1990s and 2000s, that is just the second half of the story.