Things take a psychedelic turn for Schleißen 7 with a welcome to the label of arch exponents of mind expansion in NYC’s Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam.
Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations.
A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks – made over different years, locations and situations in life – meld in to something poetic simply by being placed within a specific format.
Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl’s Matt Werth and recordings for Sacred Summits’ brethren Firecracker Recordings, it’s a warm, effusive glow of a welcome.
In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The “Sketches” included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally (‘The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries’) is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media’) is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in.
The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts – some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL – fused especially for this release. Bringing these generated pieces in to an audible “mix” creates a discourse of their work in performance, interactions and visual media.
An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen.
A seminal and visionary album that still sounds fresh close to 40 years later... a unique mixture of instruments, influences and styles that really resonates even more in today's post-everything global society. ~ Selaroda ~