Archive for October 16, 2004

Hype – 3 Days of Maurice Fulton

Maurice Fulton’s name is one of those
recurrences in dance music, I mean still knowing
almost nothing about him he never seemed to merit
mention along with Frankie Knuckles/Bones/Whoever nor
in the Detroit pack of May, Carter, Atkins, and of course the master
Craig or early euro-stirrers like Kirk Degiorgio and others.
But none of that really matters, much like early hip-hop or the
days of disco, house music wasn’t created with the intention of
lasting, crates of 12″s siphoned off the press with none of rock’s
bravado of “making it” either financially or into history. It was still
somewhat naive.

Fulton went a different route
than many of his contemporaries. His work appeared on
left leaning house label Warp records right alongside
deep house classics like Nightmares on Wax and Warp’s
founding artist The Sweet Exorcist (did this guy ever make
another record?). His music is more complex than Craig’s
or Knuckles, breezing through an mp3 can present you
with 4 very different compositions in on track, yet on listen
your only aware of one central conversation holding the
entire thing together. Feel The Same from aTigersushi comp
starts out with a distorted sub-harmony that eventual stutters into
a slap-bass work out builds up into some fine eighties-disco juxtaposed
to movie minimalism using the sub-harmony to hold all this together.
It’s better than it sounds when it happens, Maurice has consciously
mixed 3 very different textures and they become counterpoints in
a very odd way, as if he’s planned this confusion from the start.

It’s arty disco at heart. Caressingly
sincere yet catatonicized by mechna-funk, Fulton is frustrating
because he won’t just be one thing. He’s not gonna be Autechere
or for that matter Model 500 (think Psychosomatic), but he’s gonna
play with their sound, he’s gonna distort things so their
no longer pleasant, but he won’t give us the satisfaction of
taking it to it’s breaking point, of brutalizing sound, of giving
up on music. He avoids catharsis and makes a whipping boy of
virtuosity. He sits a little left of the middle and like a good host
let’s all his companions mingle by their own wits. It’s a frustrating
exercise, but sometimes the results are more than appear to be.

p.s. sorry about no mp3s, but I don’t have an mp3 hosting
service right now i.e. some place I can stash files for ya.

October 16, 2004 at 9:47 pm Leave a comment

Ghedalia Tazartes and David’s Demosarus Label

David F strikes again posting another good musical schwag on his blog

Ghedalia Tazartes, the french man who managed to overcome the
Algamarghen label’s strictly conceptual credo by sheer sonic alienation
returns. Employing keyboards, un-trained and trained vocals, with
hustles of influences as varied as Jaques Brel, Henri Chopin, Soweto
pop, Serialism, and new wave. If you have to pin an artist to a
forefather than Tazartes contemporaries lay strictly in the future: The
Talking Heads, Animal Collective, and really that’s about it. Tazartes
never made a theory of his music, instead it’s brazen aesthetics
breathe out an identity that accepts fracture as it’s starting point,
equally at home with retro-synthetic squalls as he is playing what
sounds like paper instruments & a fabricated african tribe chanting
over it. Amazing stuff, perhaps not as good as previous material, but I
haven’t heard the full album yet.

October 16, 2004 at 9:44 pm Leave a comment


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