As the calendar year comes slowly to a close, so begins my annual look back at releases that inspired excitement, curiosity and “vibe” in the last twelve months. This issue focuses on reissues and archival releases while next month’s will focus on contemporary albums. In putting this together, I noticed that I was inclined to stick closer to press descriptions and biographical context, rather than wading out into the more personal / anecdotal (occasionally glib) edges of writing I usually include.
I suppose that’s because I understand these releases as historical documents and hence, they deserve / need to be contextualized in some way. But I’m not sure how valid that approach is… I’m also not sure if the way I typically write about music here is a more dignified approach. In short: I haz questionz and skepticismz about how the process of telling the story of a given music becomes the commodification of identity through an industrial lense (especially in the context of the ‘forgotten gem’ or ‘lost classic’ whose status is almost always rooted in the oppression of the artist based on their standing in opposition to the values of the industry aka imperialist white supremacist capitalist patriarchy).
This is me asking you once again, dear readers, to hold some questions as you explore.
click the covers to listen or go your own way ~~
Various - Saturno 2000: La Rebajada de Los Sonideros 1962-1983
A totally fascinating document of a particular corner of soundsystem culture from Latin America. In Spanish, the term rebajada means ‘lowered’ or ‘to reduce’ and that’s exactly what this music is: sloowwwwwed dowwnnn. La rebajada is a psychedelic slow-drip of popular music, doing for cumbia what dub does for reggae or chopped-n-screwed does for hip-hop; reminding us that perspective is the biggest trip of all. Analog Africa provides nice sparknotes on the competing origin stories of the tradition on the Bandcamp page for the album. Definitely the most asked-about music I’ve played for people this year.
HAMSI Boubeker - Le Chant Des Profondeurs (1988)
HAMSI is a Brussels-based artist best known for his bright, colorful paintings depicting the folkloric cultures of homeland Kabylia, a mountainous coastal region of Northern Algeria. Just before his painting career took off, he wrote and recorded a series of LPs, including this most excellent collection, reissued by Frederiksberg Records this past spring. Described by the artist as a blend of traditional Berber music, drinking songs, Irish music, Breton folk and jazz modes, Le Chant Des Profondeurs is enlivening, inviting and brimming over with passion. In the late 80s, HAMSI performed regularly at protests and rallies opposing war, promoting anti-racism and advocating for nuclear disarmament. Algerian writer Kateb Yacine summarizes the vitality of HAMSI’s music succinctly: “Here is another maquis of the song, HAMSI Boubeker. He has weapons that do not kill, but weapons that make you live.” Dig the rippin’ flutes+pipes and dive deep with the press kit on HAMSI’s website.
Jan Steele & Janet Sherbourne - Distant Saxophones (1972-83)
This expertly-curated collection c/o Community Library plots a series of highlights from English multi-instrumentalists Jan Steele and Janet Sherbourne. Best known for their work on John Cage’s Voices and Instruments (released in ‘76 through Brian Eno’s Obscure Series), the duo has over four decades of collaborative history and their work spans a wide range of sounds. What’s captured here is a distilled kind of slow-jazz minimalism that relies heavily on mood and wonderment. Like lounge music but the lounge is a galaxy. Like a soundtrack but the film is a lifetime projected at three-quarter speed.
Various - Pra Quem Sabe Coisas (1973)
An album of acid-tinged samba and bossa developed over a two-year period by a group of amateur musicians attending University of São Paulo’s Law School under the direction of legendary organist / pianist Renato Mendes. In contrast to the tropicalia that preceded it, Pra Quem Sabe Coisas feels a bit unstable in a beautiful way: moving thoughtful and slow, all warm and warbled, feeling through the breath and sensuousness.
Ferkat Al Ard - Oghneya (1978)
A deeply moving, groove-driven orchestral pop album from the left-leaning Lebanese trio of Issam Hajali, Toufic Farroukh and Elia Saba. The music on Oghneya draws equally from Palestinian poetry and Brazillian bossa, capturing a unique and radical snapshot of pre-Civil War Lebanon. Unique blends of folk traditions and outernational flourishes all caught in a swirl of stunning arrangements thanks to Ziad Rahbani, famed Lebanese composer/playwright and son of the musical monolith that is Fairuz.
Celestine Ukwu - No Condition Is Permanent (1970s)
Heavy duty highlife jams from an important artist heretofore unknown to me, reissued beautifully by the one and only Mississippi Records. Music historian, researcher and DJ Uchenna Ikonne sums up the work of Celestine Ukwu so gracefully, so I’ll just get out of the way:
"Celestine ditched the jaunty dance rhythms and relatively facile lyrics typical of the reigning highlife tunes, and ignoring the soul music tropes most of the highlife bandleaders were appropriating in an effort to inject new life to their ailing format. Instead Celestine concocted a new highlife style that was more contemplative and lumbering; with the layering of Afro-Cuban ostinato basslines and repetitive rhythm patterns that interlocked to create an effect that was hypnotic, virtually transcendental. Meanwhile, Celestine himself sang as he stood coolly onstage in a black turtleneck and a sportscoat, looking like a university professor. The message was clear: this was not necessarily music for dancing—even though the rhythms were compelling enough. This was music for the thinkers."
Broadcast - Maida Vale Sessions (1996-2003)
Just in case you needed a reminder that Broadcast was one of the best groups…ever?? Warp issued a trio of archival material from the English duo this year. This set collects highlights from the band’s live performances at BBC’s studio in Maida Vale, West London around the turn of the century. For any of you not yet familiar with Broadcast, please immediately rectify this most unfortunate reality by referring to Jesse Locke’s career overview published on Bandcamp this past April.
One of the central tenets of The Regular is the acknowledgement and acceptance that music is truly endless and that there is listening to be done in all directions, all the time. It’s overwhelming but also profoundly exciting! In that spirit, here is another dozen archival / reissue projects well worth exploring:
Asha Puthli - The Essential | Biluka Y Los Canibales - Leaf-Playing In Quito, 1960-1965 | DJ Sprinkles & Mark Fell - Incomplete Insight (2012-2015) | Various - Léspri Ka: New Directions in Gwoka Music from Guadeloupe 1981-2010 | Branko Mataja - Over Fields And Mountains | Adjin Asllan, Tarik Bulut & The Garabed Brothers - In An Egyptian Garden | Los Golden Boys - Cumbia De Juventud | Risco Connection - Risco Version | Entourage - The Mermaid's Purse: Live at Chatham College, 1976 | John Ondolo - Hypnotic Guitar Of John Ondolo
I’m super interested in feedback / dialogue / suggestions. If you have ideas about the newsletter, want to share music with me, have specific questions / requests, don’t hesitate to get in touch. And please: share this newsletter with a pal if you feel so inspired!
Yrs.,
Andrew P.
andrewdanielpatterson [at] gmail [dot] com