Home Jazz Noise Pollution: A sprawling dance record, reissued Charles Mingus and Jazz-Pop

Noise Pollution: A sprawling dance record, reissued Charles Mingus and Jazz-Pop

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Orchestra Under the Reefs / Instagram


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Will Schube enjoy a nose dive from the market to usher in the weekend.



Noise pollution is a principled institution, and one of those immutable laws is that we listen to Four Tet AKA Keiran Hebden because he’s right. Few 21st century artists have such impeccable taste as he does, and as such, when he introduces us to a new song, new artist, or new mix, we listen to him. The latest signing from his Text Records is Hagop Tchaparian, whose recent Bolts is not only a confirmation of this firmly held belief but perhaps a beacon in the distance that the founding texts of Noise Pollution are less ideas than a prior experience with which we are born. To put it in less unpleasant terms, Bolts is really huge.

Tchaparian’s dance record is a hybrid and constantly evolving version, revealing new secrets with each listen. Hagop mixes the sounds of his family home in Anjar, an Armenian village on the Lebanese-Syrian border, and the kind of techno music that can be found in a Four Tet set. The propulsive, psychedelic and intoxicating ‘Right To Riot’ clearly stands out, but throughout the project offers thoughtful and illuminating interpretations of all kinds of British electronic music. “Jordan” moves like a slow-burning epic, with distorted synths floating alongside cathartic melodies and hammering bells ringing in the distance like traffic heard through a slightly cracked window. “Flame”, the emotional center of the album, is an almost utilitarian dance festival, with pounding drums and looping samples causing chaos until Tchaparian cuts the noise at the perfect moment, revealing the soft glow of hardly present melodies.



Charles Mingus reissues are unfair simply because we can never run out of new music from the hugely productive and groundbreaking jazz bassist. “Slippers”, a post-bebop song inspired by downtown New York, can be found on another new archive release from Mingus, A modern jazz symposium of music and poetry. The record was originally released in 1957, when Mingus also shared The clown, Mingus Three, Moods of Tijuanaand East Coast. It’s been a monumental year in a monumental career for a monumental artist, but the smooth and fast “Slippers” are a testament to Mingus’ ability to build a world in three minutes, just as he could in ten, an hour or longer. .



This record came out in September, so the delay is, as the kids say, my fault, but another tenet of this famous and acclaimed column is that Dave Harrington is a king who we should always celebrate as such. Here, he teams up with VISUALS’ main wacko-pop provocateur, Andrew Fox (his 2019 album Shock by shock is awesome), alongside co-producing The Range, to tap into extremely glamorous vibes from Marc Bolan and Delicate Steve. It’s the kind of song I could see in Bud Light commercials, because it’s fun and extremely good in nature. It conveys the ecstasy that these poor actors are paid to express by corporate lords cashing in those low carb brown water dollars all the way to the bank, and, let me be clear here, NOT the sentiment to drink a Bud Light.



The first extract from the new album Under The Reefs Orchestra, sakurajimais “Heliodrome”, which begins as a Veckatimest era Grizzly Bear cut before quickly shedding bedroom jazz-pop shenanigans and diving into the depths of the sea without even a snorkel mask, let alone a tank. I’ve written about this Belgian jazz band in the past, and two years later these fried jazz magicians are still conjuring up homing missiles of monster scorched earth funk.


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