Thibaut Devigne
Brilliant album mixing percussions and elements of dub. It is very interesting to hear how the percussive sounds create in fine a quite atmospheric, close to ambiant creation.
Favorite track: 105-14.
Jaki Liebezeit numbers among the world’s foremost drummers. Between 1968 and 1978, playing as a founding member of the legendary Can, he produced rhythms to be heard nowhere else, anticipating by many years the loops of modern club music. His delicate and peerlessly precise drum sound is audible in countless studio productions by a range of artists from Conny Plank to Jah Wobble. But by the early 1990s Liebezeit felt he had exhausted the possibilities of conventional drums. He made a radical break, and began to re-define, or re-invent, what drumming was about: “That explains why I’ve meanwhile abandoned conventional drums, the standard American kit. I looked around for something different, and now I just play drums. People keep saying my drumming is so reduced, but there’s nothing minimalist about the way I play, I just leave out the superfluous stuff.” More in German SZ magazine
Simplicity became a core principle for Liebezeit and collaborators like the Cologne formation Drums Off Chaos, or the electronic musician Burnt Friedman, who is noted for his richly detailed, groove-heavy productions. Less is known about his activities in the period from 1978 up to the mid-1990s, when he began to make his own instruments and took up the drums, initially with no thought of electronic music. He was searching for a method that would allow him to play although he lacked any knowledge of music or what it was supposed to be. From the first note on he recorded all his ad hoc compositions, since these attempts were useful for the purposes of learning.
Allegedly the sound of one-armed bandits inspired Paul Desmond to compose “Take Five”: “It was the rhythm of the machine which influenced me, and I really only wrote the track to get the money back I lost that night.”
Although jazz offers examples of odd time signatures stretching back all the way to Lennie Tristano in 1955, for example, or Dave Brubeck and Paul Desmond in 1959, fundamental differences persist in the way these rhythms are perceived. Terms like downbeat and offbeat, polymeter or syncopation point to theoretical inconsistencies. They demonstrate that the notion of a uniform, dynamic functional principle is alien to western thinking.
Watching Liebezeit play his drums, or following the developmental path of the Secret Rhythms titles, it becomes possible to understand that the rhythmic formula is comprehended as being circular – in much the same way as in traditional or neo-traditional music in non-western spheres – as opposed to linear and progressive. The formula is derived from a recurrent, necessarily balanced body movement from which every impulse originates as something sensed as opposed to noted down. Once these basal motional patterns have been transposed to the memory of the body, they can be effortlessly transferred to any desired resonance box, string, drum, xylophone or piano. They are in tune to begin with.
This formulaic principle, which can be represented with just two signs, or translated into simple digits, can also be grasped as an energy structure according to which the individual (or an infinite number of individuals) is synchronized. Analogously, all the instruments played on Secret Rhythms 5 are synchronized to the principal motional formula.
Bobby Gillespie (Primal Scream): “You can’t just have anybody playing the flute or the bass or the melodica. That’s why in the past we’ve had, say, Augustus Pablo on melodica, or Jaki Liebezeit on drums, or the Memphis Horns on horns.” Complete Interview in Guardian
credits
released January 19, 2013
performed by Burnt Friedman & Jaki Liebezeit
vocals on tracks 3/6/8 by Daniel Dodd-Ellis
acoustic guitar on tracks 5/8 by Tim Motzer
electric bass on tracks 3/5 by Daniel Schröter
electric guitar effects on track 3 by Joseph Suchy
flute and clarinet on track 7 by Hayden Chisholm
produced by B.Friedman, except track 7
120-12 produced by Romain Sygroves and Burnt Friedman
mastering by Rashad Becker
cover artwork by Theo Altenberg (O.T.), Detail, Oil On Cardboard 2012
supported by 17 fans who also own “Secret Rhythms 5”
I can’t believe that I hadn’t seen this release on Bandcamp before today!! I thought I would check if a search of“Drums off Chaos” produced anything here on Bandcamp and found this. It’s amazing!! Especially after seeing Drums Off Chaos play in Cologne two days ago as part of the Tribute to Jaki Liebezeit concert. And this is a most wonderful recording - you should buy it immediately and anything else that is released by them. I do hope there is more to come.
I saw Jaki play several times and it was always a marvelous experience. I met him only once to speak to - after a Damo Suzuki Band gig on the 26th or 27th of December 1987 at the Stadtgarten, Köln. He was such a kind and warm presence. I was a student and poor and he gave me a lift to my hotel in his car. I will always remember him drumming on the dashboard and steering wheel of his car as he waited at the traffic lights. He was kindness in/and rhythm. The world is seems a little diminished without him in it - but I hope that the “many recodings” mentioned above may eventually pop up as releases so the world can hear them. David Kellett
supported by 16 fans who also own “Secret Rhythms 5”
Mohammad is an exceptional percussionist - so crisp, snappy, precise, and flowing. Burnt Friedman's electronic accompaniments are a perfect foil for this - this is excellent night-music, with touches of early autechre sounds as well as 90's synth-heavy industrial music and more fuzzed out hazy sounds. Jascha Narveson
There’s a quiet beauty to this remix album of compositions by Michael Vincent Waller, with contributions from JLin, Prefuse 73, & more. Bandcamp New & Notable Apr 1, 2024
Somber, beautiful string meditations abound on the debut album by Oxford cellist and composer Lou Lyne and her ensemble. Bandcamp New & Notable Mar 30, 2024