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Red Veil is instrumental, metallic neo-psychedelic hard rock of a brittle and grim sort. The spiraling and soaring guitars, often splintering into highly amplified staccato distortions, are driven along by a rhythm section of stoned-face determination, given an astral quality by the embellishments of a pulse generator. These six pieces never do escape from ominous riffs and progressions. If there are faint echoes of the journeys to the heart of the sun taken by Jimi Hendrix and Pink Floyd, these aren't so much voyages for the thrill of discovery as steely resolutions to get on with it, bearing little expectation that what's found in the outer reaches of space will be a garden of delights. Certainly this is the work of a tight quartet, mastering their thick fuzz and mini-novas of sound with the assurance a weather-beaten captain brings to the steering wheel of his steamboat. At times they can lighten the assault with drifts of dissonant sound waves and tones, as you can hear in the opening of the 11-minute title track, and parts of "Trainable" actually border on metal-thrash, though high-volume rock is never too far off the radar screen. It's too enervating to have wide appeal as recreational listening, however, though it seems that SubArachnoid Space are very aware of that. ~ Richie Unterberger
Recording information: 04/2004.
SubArachnoid Space: Chris Cones (guitar, electronics); Diego Gonzales (bass guitar); Melynda Jackson, Christophe Van Huffel.
Personnel: Melynda Jackson (guitar); Christophe Van Huffel (drums).
The Wire (p.68) - "[O]n these loping workouts their music sustains a fierce energy level and builds into a relentless mass of rhythm and fury." Subarachnoid Space Red Veil Songs Red Veil Review
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A ragged-but-right Can recorded the material found on DELAY before and after completing 1968's official debut, MONSTER MOVIE. Literally delayed, this important document of the band's beginnings was edited from archival tapes by bassist and co-founder Holger Czukay and didn't see release ...
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Recorded live at Instants Chavires, Montreuil, Paris, France on September 22-25, 1994.
Memory Select, the final release in the three-CD live series recorded by Tim Berne's Bloodcount at Instants Chavirés in Paris during September of 1994, begins in low-key fashion, with Chris Speed playing mournfully on his solitary clarinet before he is joined by Marc Ducret's skittering runs and begins to transfer some of the guitarist's energy into his own playing. The full-ensemble scored passages that follow in the 18-minute "Jazzoff" are akin to similarly subdued, chamberesque portions of compositions on the first two discs, Lowlife and Poisoned Minds, while Berne's buzzing multiphonics during the improvised segments place the saxophonist's fascination with sometimes abrasive textures on full display. Speed's clarinet, Berne's baritone sax, and Michael Formanek's arco bass draw long lines through a sometimes dark and melancholy sonic landscape punctuated by Jim Black's inventive, though comparatively laid-back, percussion. As suggested by the title, this is Berne at his least jazzy -- although there is plenty of room for skronky improvisation during the midsection of "Jazzoff." This is one of Berne's best pieces for sustaining a consistent mood, even if that mood might lead listeners expecting some upbeat music to reach for a bottle of Prozac. And like his most enduring extended-form music, it avoids the jarring cut-and-paste juxtapositions of lesser composers, while still taking listeners on a wide-ranging ride. "Jazzoff" is followed by the grand opus of the entire three-CD series, the 51-plus minute "Eye Contact." Here, Berne leads the band's slow buildup of energy with a stunning, soulful alto solo before bringing the dynamic back down to quiet, chamber music levels. A short burst of almost sprightly full-band harmony and counterpoint signals approaching showcases for Speed's wild and wailing clarinet and Formanek's soloing prowess; more tricky and complex charts then lead to a funked-up jam supporting a crazed, noisy guitar solo from Ducret. For sheer energy alone, this would be an apt conclusion to "Eye Contact," but there is much more to come. The track ends with Berne soloing over a dramatic buildup from the full band, unleashing torrents of notes and blistering multiphonics from his horn before joining a powerful unison melody line executed by Ducret's guitar and Speed's tenor, with Black and Formanek thundering in free jazz abandon below. It is such a grand gesture that it serves not only as a coda to "Eye Contact," but to the entire three-disc Instants Chavirés series. As Berne and Speed let their last sustained note slide into ...
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