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NORTHERN SPY

Asher Gamedze

A Semblance: Of Return

    'A Semblance: Of Return' is the new album from South African drummer, composer, and bandleader Asher Gamedze. Gamedze gathers a close ensemble of longtime collaborators to explore what he calls “practices of assembly” - ways of making sound, and imagining new and old modes of freedom. Based in the independent music scenes of Cape Town and rooted in Pan-Africanism and Black Consciousness, 'Of Return' extends the political and musical commitments that have defined Gamedze’s work from 'Dialectic Soul' (On The Corner, 2020), to 'Turbulence and Pulse' (International Anthem, 2022) and 'Constitution' (International Anthem, 2024) while opening a newly collective chapter in his practice, this time on Northern Spy.

    The band on the album - Ru Slayen (percussion), Nobuhle Ashanti (keys & synth), Zwide Ndwandwe (bass), and Keegan Steenkamp (trumpet), with Gamedze on drums - formed as a social unit: a group for whom music is part of a broader shared life, full of playing, thinking, laughing, and struggling. That ethos animates the music. Across the album’s two sides, 'Of Return' serves as a gathering place: a living room, a rehearsal, a shady club, a study group, a home. The music moves with a grounded, searching energy, shifting between group vocals, groove-heavy ensemble passages, and moments of stark melodic clarity. The grooves are earthy and lived-in; the improvisations feel like conversations; the lyric fragments echo the project’s probing around notions of return as integral to any forward, future-oriented motion. 'Of Return' enacts both return and departure, or more precisely, extension/elaboration. This it does through a rootedness in the traditions and politics of the Cape underground, and opening a sonic invitation to dream, to struggle together, and, fundamentally, to assemble.

    TRACK LISTING

    1. Stranger No Death
    2. Progressive
    3. Air
    4. Following Up
    5. Distractions
    6. Of The Fire
    7. War
    8. Lowland
    9. Extension
    10. State (Of The Internation)
    11. Turnin'

    The Necks

    Disquiet

      On Disquiet, The Necks stretch their immersive, shape-shifting sound across three discs and more than three hours of labyrinthine, patient intensity. This is their twentieth studio recording and it marks the 39th year of the band’s existence. Meticulously recorded and sculpted, the four extended pieces on Disquiet see Tony Buck, Chris Abrahams, and Lloyd Swanton pushing at the outer edges of their collective intuition, building and unraveling hypnotic structures with microscopic focus. Present is the usual arsenal of piano, double bass, and drums, and all the in-between of sounds undefined and sources obscured. The music of The Necks has always carried a profound sense of shared responsibility –– between the players, of course, in their utter commitment to the improvisational –– but also between the work and its audience. With music so open, there are profound opportunities to choose: what to focus on, whether to focus at all, etc. Disquiet takes this further: there is no particular listening order prescribed. There is no “Disc 1, Disc 2, Disc 3.” The music itself seems to stretch time, and this presentation challenges ideas of sequencing. The Necks, one may argue, are a mode of discovery as much as they are a band. Regarding the sound itself, The Necks’ signature restraint and textural depth remain, with subtle tonal shifts, evolving motifs, and roiling phases of keen and propulsive clatter, strains of subdued surprise and unmatched intentionality –– as ever, expansive and absorbing.

      Shilpa Ray

      Bootlickers Of The Patriarchy

        Bootlickers of the Patriarchy was written about Senator Susan Collins and her infamous press conference after the Kavanaugh/Blasey Ford hearings It's about women who succeed from undermining the success of other women or choose to gain success from exploiting the oppression of other women. This is a character who has taken many forms throughout history, the kind of woman who seems perfectly content playing Gamma to the Alpha male. "Bootlicker" is my direct challenge to the notion of 'women supporting other women,' and the falsehoods and unrealistic expectations that comes with a statement like that." "I wrote the song to be played in two different arrangement styles, the first half being slow and haunting and the second going balls-to-the-wall rage. I was re exploring a lot industrial/proto industrial music I had listened to as a teenager in the 90s and used some elements of synth/drum machine sounds to convey all that anger, panic and darkness." // "Well, why not do a cover of your influences as a B- side? I was obsessed w/ the Ministry album 'With Sympathy' when writing tracks for my upcoming album. It is the record Al Jourgenson has stated multiple times that he's ashamed of most, which is saying a lot considering this man's autobiography. I teamed up with my friend Heather Elle of Flossing, formerly of post punk bands Bodega and The Wants for this collaboration. It's my first official recorded track where I'm playing guitar, so as the saying goes, it's never too late to pick up a new instrument and get totally lost in it."

        TRACK LISTING

        A1. Bootlickers Of The Patriarchy
        B1. I'm Not An Effigy

        Neptune

        Msg Rcvd

          On 'Msg Rcvd', Neptune employ an array of new techniques and methodologies to explore indeterminacy and difficult phenomena such as feedback. Moving away from guitar feedback, this record features amplified drum feedback as well as the introduction of two new ‘feedback-organ’ machines. Developing their career-long interest in arranging and deploying found sounds, Neptune continues to use their sonically peculiar guitars built from pieces of found metal, but add to this new devices to pick and arrange sound out of the air: interrupted radio broadcasts. On msg rcvd the listener becomes eerily aware that trash is not just the junk on the street and in alleys, but it is also the invisible radiation that surrounds us and permeates us, and, in an expanded sense, the very material of which our bodies and experiences are made. One man’s trash, another man’s Neptune.

          “Amazingly, the band constructs their instruments out of circular saw blades, bike parts, gas tanks and miscellaneous scrap metal found in the trash. But make no mistake, Neptune isn’t aping past metal bangers like Test Dept and E. Neubauten. At times the group rocks hard, creating disciplined almost danceable grooves, combining This Heat’s ascetic experimentalism with Cop Shoot Cop’s percussive wallop. Homemade electronics flesh out the sound, ricocheting off complex rhythms, adding texture and dynamics to Neptune’s singular, highly musical approach.” – Paul Lemos, The Big Takeover.


          'Honky Tonk Medusa' is Donovan Quinn’s first album that he’s both recorded and produced since the Skygreen Leopards’ adventurous 'Life & Love in Sparrow’s Meadow'. Along with Quinn’s work on vocals, guitar and synth, the album also employs San Francisco musician’s Jason Quever (Papercuts), Michael Tapscott (Odawas), along with his regular rhythm section of Nick Marcantonio and Michael Carreira. Working in reverse order to many current acts, the sound of 'Honky Tonk Medusa' is molded to each individual song; letting the lyrics and spirit of the song dictate the instrumentation and style with the lyrical narrative tying it all together.

          The story of the album is one of decaying American cities, Internet age entropy, and equal parts romance and loneliness. In addition to the music the album features artwork by San Francisco artist Joe Roberts and liner notes by Elisa Ambrogio (Magik Markers, 200 Years) & Ben Chasney (Six Organs of Admittance).



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