Category Archives: arp

20jazzfunkgreats best of 2010: The Atlantidan Metaphysical Circus

Lo and behold the starwanderers as they continue their ramblings inside a box of black space lined with gold thread, chronological boundary for the holy year that was 2010. Here we report the risky explorations that over this  period tore asunder the walls of reality to fetch from the amorphous manifold beyond nutritious morsels of quantum pop which which we watered our garden and fed the livestock. Such were the strange flowers that grew thereafter, and the ancient tongues with which our beasts proclaimed.

Ariel Pink and his Haunted Graffiti: Before Today. News at 11. Pop prophet transforms utopian fish into crumbling DIY bread, masses flock  to worship at his bedroom temple.

Ariel Pink & His Haunted Graffiti- Fright Nights (Nevermore) (Posted on April 21)


Arp – The Soft Wave.  Cluster and Eno and Rilley and Georgopoulos.  Ringside seats in an amphitheatre at the edge of time.

Arp – Pastoral Symphony: I. Dominoes II. Infinity Room (posted September 3rd)


Arp and Anthony Moore: FRKWYS Vol. 3. Lullabies for wide-eyed children destined for polymathematic stardom.

Arp and Anthony Moore- Spinette (posted on April the 5th)


CFCF: The River. Mies Van der Rohe built an exquisite Canal de Amazonia to make Fitzcarraldo’s job easier.

CFCF- The River (Piano Version) (Posted November the 8th)


Delia Gonzales & Gavin Russom – Track 5.  In everyone’s life there’s one album that has a disproportionate pull on you.  Something that, ‘objectively’ is very good, but which has an almost supernatural hold on you above and beyond that. An album which can evoke pure moments of transcendent bliss.  Imagine if, after five years a missing piece was released.

Delia Gonzalez & Gavin Russom – Track 5 (New Post)


Hounds of Hate: Head Anthem. Organic ghost machine music that circles the sleeping victim like a shadow pygmy tribe armed with ancient spells of compelling abstraction.

Hounds of Hate- Purple Stuff (Posted November the 2nd)


Hunx and his Punx: Gay Singles. Nuggetbagging, rather than teabagging. John Waters would be proud.

Hunx and his Punx- U Don’t Like Rock and Roll (New Post)


Hype Williams: Find Out What Happens When People Stop Being Polite and Start Getting Reel.

Perchance the last addition to these terminal celebrations, and a timely one. Hype Williams have animated 20jazzfunkgreats séances with feeric liquors over which glide pixies imported from Chicago and Kingston, shouting their wares in a cloud of voodoo tags. Their gift is a graphic novel of panels that blur in Steranko fever. Sade drowns in an ocean of pavement syrup, while the chaotic transmissions of a thousand pirate radios converge in the neon sky above, like a Batman sign for much darker heroes

Hype Williams- The Throning (new post)


International Feel: The Coptic Sun.That apocryphal chapter of Invisible Cities that Italo Calvino wrote under the influence of a particularly strong strain of Peyote, or the destination point of Conan’s pilgrimage if Thulsa Doom was only a conduit into the psychedelic stargate, rather than a dirty reptilian worshipper.

International Feel: The Coptic Sun (Posted September the 30th)


Male Bonding: Nothing Hurts. Mixtape fodder for teenage punk heroes.

Male Bonding- Weird Feelings (new post)


Mi Ami: Steal your Face. A growing crescendo calling out across decades of electric guitars, rusting in the salt heavy sea air.

Mi Ami- Dreamers (Posted April the 9th)


Paul Rosales: Wonder Wheel I.  ‘Crimes’ is exactly the sort of thing we wanna hear when we’re selling out, its unselfconsciously wrought unplanned energy is our 20 inch rims, its atonality is our leather dashboard which we caress whilst cruising illicit streets to do deals with shadowy figures who hand us parcels full of the highest grade low fidelity shit which we now sell to you at the vastly inflated price of £0

Paul Rosales- Crimes (Posted July the 8th)


Plug: S/T. This is our minimal wave. DIY electro-pop to take over your life.

Plug- Don’t Forget It (New Post)


Pocahaunted: Make it Real. Block rocking beats that Big Daddy Kane could have freestyled over as delivered by the Shaggs’ feral skull faced reverse.

Pocahaunted- Make it Real (posted May 17)


Skeletal System – s/t & Small Talk.  This is our dream-pop: full of watery ill defined shapes and haunted guitar lines.  Will surely be placing highly on Peel’s Festive Netherworld 50.

Skeletal System – Dialogue (posted April 23rd)


VA: Deutsche Elektronische Musik. The sounds that rebuilt Germany, and built us.

Gila- This Morning (Posted May 11)


As a bonus, we leave you with Harrison Owen’s video for Excepter’s Anastasia, included in The Late EP in Woodsist, riding the razor edge between sex and violence in the best tradition of the Psychoterrorist squad that taught us all, and the most fucked up of all transcendental meditators (circa Nadja, and pumped on colour).

We wish you a twisted transition across the no-man’s land between Christmas and the end of the Year, we shall be waiting for you on the other side.


Featuring : arp + David Behrman

Arp’s latest album The Soft Wave is released on Monday and attempting to select a representative track or even a single track that suggested an mp3 accompaniment on these pages proved…hard. The Eno (circa Another Green World) love letter of From a Balcony Overlooking The Sea is delicate and nostalgic and a glorious send off as the album winds down. The bubbling piano beds that underpin Catch Wave scream out for the long gestating La Monte Young post that will someday appear on the site (when the need arises to obliterate our bandwidth).

But it was the opening, Pastoral Symphony: I. Dominoes II. Infinity Room that proved unshakable in its grip on the fevered imagination of this 20JFG scribe. Straddling as it does two distinct movements: sliding us through the simple tones of early electronic experimentation to the warm bounce of synthetic melodies before complicating the utopianism in the grainy analogue streets of 70s Germany.

Arp – Pastoral Symphony: I. Dominoes II. Infinity Room

Arp’s nigh essential new album The Soft Wave is out on Smalltown Supersound on September 6th. Undoubtedly more info here.

David Behrman – Figure in a Clearing

A nervous cello scratches about in a decidedly non-digital manner, seemingly seeking out the impending synthetic interloper. To approach this music knowing the electronic experimentalism that is to come is to experience all of the David Gibson’s emotive cello playing in state of tension. As the primitive synthetic tones arrive, triggered not by the whims of humans but by the abstract machinations of physics, they seem to mesh with the comparatively ancient cello to form a duet full of warmth where once there was harshness and absence. The scratching cello recast as a compliant companion.

Figure in a Clearing was the first piece by David Behrman to use a computer in bot the creation and composition of music. The time intervals were modelled on a falling elliptical orbit of a hypothetical satellite as it descended towards a planet. That model controlled the time intervals between chord changes. David Gibson improvised within a set of 6 pitches laid out by Behrman whose only other instruction, to not speed up when the computer did, hints at the role Gibson was to play in the duet between planet and satellite.

Fun Behrman facts: Behrman studied composition under Stockhausen in Darmstadt in 1959 with La Monte Young; he also produced Terry Riley’s In C while working at Columbia.

Behrman was described by Haruna Miyake as creating ‘unfinished compositions’, to our videogame addled mind, that places him in the mould of a designer/programmer, a creator of rules with which the player can perform. Or in Benrman’s own words:

‘An analogy that I like for interactive music is that it’s like a piece of sports equipment – a bicycle, say, or a sailboat. The design is very important, but all the experiences of bicycling or sailing can’t be foreseen or controlled at the boatyard or factory, nor should they be.

The tradition of ‘unfinished composition’ of course is not new. Much of Jazz and other musics primarily designed for live performance have a lot to do with that kind of idea. You could say that when the composition is unfinished, authority is being questioned.’

Punk as fuck.

Figure in a Clearing can be bought as part of Lovely Records’ On the Other Ocean reissue that came out in 1996 but is still available here. Interview excerpts from Jason Gross’s 1997 interview here.

Lux Aeterna

Anthony Moore harvested many mutant seeds for the fertile ground which was the Kosmische Deutschland of the early 1970s, and brought them home to rainy Britain. Here they would spawn and intermingle with the local species, through the hybrid vehicles of Slapp Happy and Henry Cow, the rest is weird, more or less occult psychedelean history. Before all of this, Moore produced ‘Pieces of the Cloudroom Ballroom’, an underground masterpiece which brings together the intricate and pensive cycles of minimal composition with the directional vectors of German Progressivism.

Take the opening piece, Jamjemjimjomjum- it sounds like Magma operating inside an architecture designed by Mies Van der Rohe rather than Constant Nieuwenhuis– it could be by the Boredoms actually. Or what we are leaving with you today, Abc Gol’fish, a walk through harpsichord heaven that unfolds fractally  in a way that reminds one of Steve Reich or Terry Riley, melodies that you hadn’t even realised were there suddenly coming to the surface like alien dolphins of kaleodoscopic beauty. Sadly, it ends rather suddenly, you run out of the cliff like Coyote chasing roadrunning beauty, gravity beckons, he only way to defeat it is by pressing play again.

Anthony Moore- Abc Gol’fish

Alternatively, you can step forward almost 40 years, when in a new stroke of genius, the good folks at RVNG International decided to bring Anthony together with Alexis Georgopoulos from Arp, an admirer of Pieces of the Cloudroom Canyon. This is part of the FRKWYS project, where RVNG are engineering collaborations that one only dare dream of, and publishing them in a lovely format for caring collectors.

The outcome is the most subtly mindblowing trip I have had for a while, it’s all about the gorgeous dissonance, moments of pure sound  all the more precious when bracketed in silence, awestruck walks inside the vaults of the cathedral of drone, and quotes to the titans of goodness Arthur Russell and Robert Wyatt. Spinette is the liveliest piece in the whole album, a lush continuation of Abc Gol’fish which sounds like a lullaby for wide-eyed children destined for polymathematic stardom.

ARP and Anthony Moore- Spinette

You should continue supporting the good cause of FRKWYS by purchasing the album here.

We finish this day of blissful trance with a some more illuminated waves off the solo project of our comrade/conspirator/brother Brian Deathbomb Arc, Back to the Future The Ride. Crystal Kisses on Reindeer Lake, included in the Pronoia Sunsets Cassette, is the sounds of all the worlds above melting into each other in a drone choral that would have made Gyorgy Ligeti proud. Pristine notes so clearly defined in the head of Zeus spring out and converge into a primeval sludge which is the outcome of the victory of magic over entropy, the Starchild has finally returned home.

Alternatively, you could think about it as one of those moments of pastoral beauty in No Age’s repertoire left to dry in the desert wastelands of an ageing planet. Aeons after, a supernova.

Back to the Future the Ride- Crystal Kisses on Reindeer Lake

You can download the debut self/titled EP here.