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Oren Ambarchi
Simian Angel

avantgarde/ electronic
Editions Mego, 2019

total time: 39:16

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vinyl:28,70€
availability:
about a month
cat. no: EMEGO264
EAN: 5050580717022
colour : black
download code :
format : 12"LP
number of discs : 1
packaging : singlefold


no. title play mp3
1 Palm Sugar Candy 16:03
2 Simian Angel 20:14


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https://soundcloud.com/editionsmego/oren-ambarchi-simian-angel-excerpt-emego-264

Oren Ambarchi - guitars & whatnot
Cyro Baptista - percussion & voice

Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente and Oren Ambarchi.
Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin.
Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo.
Cut by Rashad Becker at D&M, Berlin.
Executive Producers: Konrad Sprenger & Dick Wolf.
Photography by Traianos Pakioufakis.
Design by Lasse Marhaug.

After a trilogy of spectacular explorations of relentlessly driving rhythms – Sagittarian Domain (2012), Quixotism (2014) and Hubris (2016) – Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes from the Estate while also following his muse down previously unexplored byways.

Reflecting Ambarchi’s profound love of Brazilian music – an aspect of his omnivorous musical appetite not immediately apparent in his own work until now – Simian Angel features the remarkable percussive talents of the legendary Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista’s dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, ‘Palm Sugar Candy’, Baptista’s spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece’s final minutes leave Ambarchi’s guitar unaccompanied. While the rich, swirling harmonics of Ambarchi’s guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone we hear is quite new, coming across at times like an abstracted, splayed-out take on the 80s guitar-synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi’s playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance.

Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carri
.......
more

After a trilogy of spectacular explorations of relentlessly driving rhythms – Sagittarian Domain (2012), Quixotism (2014) and Hubris (2016) – Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes from the Estate while also following his muse down previously unexplored byways.

Reflecting Ambarchi’s profound love of Brazilian music – an aspect of his omnivorous musical appetite not immediately apparent in his own work until now – Simian Angel features the remarkable percussive talents of the legendary Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista’s dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, ‘Palm Sugar Candy’, Baptista’s spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece’s final minutes leave Ambarchi’s guitar unaccompanied. While the rich, swirling harmonics of Ambarchi’s guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone we hear is quite new, coming across at times like an abstracted, splayed-out take on the 80s guitar-synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi’s playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance.

Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carri
.......
more


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