Burnt Friedman presents his fourth solo album, following up the 2007 masterpiece First Night Forever. Bokoboko is an entirely instrumental recording, impossible to pinpoint to existing genres of music.
Bokoboko comes from the Japanese, like the other track titles, and means uneven, hollow-sounding adjectives aptly describing the album's crooked, dynamic grooves as well as the many percussively resounding instruments. Friedman, recognizable more or less by the sound of the ten instrumental tracks, plays prepared oil barrels/steel drums, all kinds of wood and metal percussion, gongs, monochord, a home-made rubber-band guitar, organ, synthesizer, and electric guitar. He is sometimes joined by Hayden Chisolm (wind instruments), Joseph Suchy (guitar), Daniel Schr�ter (bass), as well as, making his first guest appearance, Takeshi Nishimoto, a Berlin-based Japanese musician playing the sarod, a traditional Indian string instrument.
The uneven types of rhythm, which provide the specific oscillation on which all the tracks are based, in principle obey all the components: melodies, noises, monophone sequences and dub echoes inserted into pre-sketched, programmed basic tracks. The tracks of the current production, like those in Secret Rhythms, Friedman's live-and-studio project with Jaki Liebezeit, must be viewed as intermediate phases in an on-going process. They are not finalized, completed pieces that permit no further alteration, nor do they correspond to the idea of an original with unmistakable identity. On the contrary: permutability is their salient feature, and they are built according to a plan that follows natural laws.
Deku No Bo (track 3) and Sendou (track 4) follow the same rhythmic formula, the same seven-part cyclic groove, even it is hard to discover any superficial resemblance between the two. The same is basically true of the three parts of Rimuse (Dance) (tracks 1 and 9 on the CD; the first part is availab....... more
Burnt Friedman presents his fourth solo album, following up the 2007 masterpiece First Night Forever. Bokoboko is an entirely instrumental recording, impossible to pinpoint to existing genres of music.
Bokoboko comes from the Japanese, like the other track titles, and means uneven, hollow-sounding adjectives aptly describing the album's crooked, dynamic grooves as well as the many percussively resounding instruments. Friedman, recognizable more or less by the sound of the ten instrumental tracks, plays prepared oil barrels/steel drums, all kinds of wood and metal percussion, gongs, monochord, a home-made rubber-band guitar, organ, synthesizer, and electric guitar. He is sometimes joined by Hayden Chisolm (wind instruments), Joseph Suchy (guitar), Daniel Schr�ter (bass), as well as, making his first guest appearance, Takeshi Nishimoto, a Berlin-based Japanese musician playing the sarod, a traditional Indian string instrument.
The uneven types of rhythm, which provide the specific oscillation on which all the tracks are based, in principle obey all the components: melodies, noises, monophone sequences and dub echoes inserted into pre-sketched, programmed basic tracks. The tracks of the current production, like those in Secret Rhythms, Friedman's live-and-studio project with Jaki Liebezeit, must be viewed as intermediate phases in an on-going process. They are not finalized, completed pieces that permit no further alteration, nor do they correspond to the idea of an original with unmistakable identity. On the contrary: permutability is their salient feature, and they are built according to a plan that follows natural laws.
Deku No Bo (track 3) and Sendou (track 4) follow the same rhythmic formula, the same seven-part cyclic groove, even it is hard to discover any superficial resemblance between the two. The same is basically true of the three parts of Rimuse (Dance) (tracks 1 and 9 on the CD; the first part is availab....... more
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