New York-based Talibam! returns to ESP-Disk' with an interesting take on environmental matters by declaring, "It is the soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth. This inevitable destruction of Antarctica's purity marks the global-environmental endgame of the Anthropocene." On that note, the musicians seem to be concerned about the global exploitation of natural resources, and while I'm not privy to what's going on in Antarctica, other than science camps and oil-drilling initiatives, these dynamics certainly warrant serious consideration.
Keyboardist Matthew Mottel and drummer Kevin Shea (Mostly Other People Do The Killing) launch a rapidly moving synth fest, loaded with subplots, quirky sound-sculpting maneuvers, interstellar voicings, odd-metered cadences and layered electronics. The duo intersperses humor, and occasionally mimics house music, along with zesty synth-framed rockers and alternating cadences amid a search and conquer-like game plan. They sustain additional interest via a multitude of largely melodic mini-themes.
On "Obsequious Resources Duly Exploited De Novo," the musicians infuse an electronic tribal dance, shaded with Mottel's circus vibe, segueing into the following piece, Breach of Ecology on the Seabed (Biodiversity in Shambles)" which is sketched on foreboding scenarios and corpulent bass lines. The excitement continues during "RISE OF THE DEFENDERS OF ANTARCTICA," steeped within a loose-groove funk vamp, an ethereal melody and a surfeit of melodic twists.
Again, the album progresses rather expeditiously, so a few upfront previews may be in order before kicking into tenth gear for the holistic listening experience, as the duo invites you into their rather prismatic plight, instilled with odd-metered blowouts, and more. In a way, the band morphs the history of space rock into a mind-blowing psychodrama that reveals previously undetected surprises on additional spins.
Track Listing: Antarctica shall be used for peaceful purposes only (Article 1); Human Interference and the Failure to Ratify; Reign of Primordial Tenure on the Ice Shelf; The Telegenic Annexation of Territorial Expanse in the West; Obsequious Resources Duly Exploited De Novo; Breach of Ecology on the Seabed (Biodiversity in Shambles); Cost-Effective Drilling Enabled by Pioneering Technologies and Warmer Climates in the Southern Ocean; RISE OF THE DEFENDERS OF ANTARCTICA
Personnel: Matthew Mottel: Mini Moog, Midi Synths, Yamaha CS1x, Roland Juno 1, Roland Lucina, Arp Solus; Kevin Shea: drums, MIDI Marimba Lumina.
I was first exposed to Jazz when a couple of dear friends of mine turned me onto it around 1971. I was already into Progressive music, R n' B, Soul, Motown, Latin Rock and other styles that were a great ladder to Jazz
I was first exposed to Jazz when a couple of dear friends of mine turned me onto it around 1971. I was already into Progressive music, R n' B, Soul, Motown, Latin Rock and other styles that were a great ladder to Jazz.
Being a Musician myself, (Lead Guitar/Bass Guitar), I studied at the Dick Grove School of Music with Dick Grove, Jeff Richman and Lee Ritenour. This was around '84-'85. I started playing the Guitar in November 1967. Playing Guitar came quite naturally to me thank goodness. Though I spent hours upon hours practicing while my school buddies were doing Sports.
It was in the early '70s that I really got into Jazz, Jazz Rock, Jazz Fusion and World Music. Seeing Weather Report, Miles Davis, Wayne Shorter, Larry Carlton, Steely Dan, John McLaughlin and the Mahavishnu Orchestra, RTF, Herbie Hancock and the Headhunters, VSOP, Freddie Hubbard and so many, many more amazing artists opened my eyes to the beauty and eloquent nature of Jazz. I really love the brilliant ensemble playing that is in Jazz!!
When I play and write music, it blends so many style together. Many fans ask me why my playing sounds so jazzy. It's because I understand Blue Notes, the phrasing, the tonality, time signatures and more. I can also play Rock, Folk, Soul, R n' B and other styles too. I seem to gravitate more and more as I get older to a jazzier style. Currently I'm 62 years old. I have released 2 CDs world-wide. Working on my 3rd.
I also teach Guitar/Bass/Music Theory to my students. They range from 6 years old to much, much older. (I was hired by the City of Aurora, CO to teach ages 6-13 specifically). Currently I teach 41 children in 5 classes. Additionally another 7 private students.
My wife, Meesh, and I love Jazz dearly. It was one of the things that we share together!
Most of the people that I know today do not get jazz. I try to explain what to listen for, but many times the music of Jazz is a bit much for them. So be it.
In a nutshell, I live, breath and listen to Music 24/7. No TV except the Food Channel and Weather.
I love John Kelman's articles. They are so insightful and well-constructed!
Thank you all for doing what you do.