First listen: Sunwatchers, “two”
When you live with music for long enough, you will have different roles for the courses you take. How you experience Neil Young’s “don’t let it take you away” lyrics as a 1920s thing could be profoundly changed decades later. The real thing is the challenging instrument music. A dozen years ago, saxophonist Albert ayler’s fierce free jazz and lively work inspired dark meat. The number of people sometimes increased to 18, and the Athenian, california-based band applied the southern rock music to iresearch in a manic atmosphere. It’s funny, weird, and occasionally debauched to see what it’s like to be on this day, but the black meat is just scratching the surface of what makes elle so critical.
Brooklyn Sunwatchers three former members of The dark (Jim McHugh on all kinds of guitar, Jeff Tobias on saxophone and keyboard, and drummer Jason Robira) combined with bassist Peter Kerlin, he often in Chris Forsyth and The Solar Motel bands. In the four years of time, they quickly upgraded to the highest state of trance music, it is also a free jazz, rock anecdotes, Thai folk melodies, minimalism and mutation of terrorism. Because they have been to New York as a home, so the members have been saxophonist Arthur Doyle support band, and guitar maniac Eugene Chad byrne (Eugene Chadbourne) to lead the way on the album. They also teamed up with other brooklyn experimental musicians, Drunk Foreigner Band, a passion project for music in Thailand and Laos.
The world is in line with Sunwatchers’ second album II. “Nose beer” announced its first appearance in Thailand (sorry), with a rotating melody playing the electric phin, supported by a swinging rhythm. But as the rebound tobias like a button John kyl and terry riley’s church anthrax jam and superposition of the horn to the front power reflects the melody, it is clear that the band has been locked in another dimension. “Hot eyes” and “works” clearly understand Rhys Chatham’s “masqued as minimalism”, weaving the flute and saxophone with a twisted guitar. Track time to establish their own ecstasy silent drones – the former is a triple washing, which locked in a motorik slot – and pay off in the euphoria of the wind.
Sunwatchers put forward Albert Ayler’s affirmation and prophecy that music is the healing power of the universe. “We believe in this, and we promote it, and we do everything we can to live,” the band included a lengthy statement on the album. Like this song, this sentence Sunwatchers members see a broken system, and the determination to use their wild and fun and how music music, “deprived of solidarity with the world, poverty and embattled people”, embroidered on the album cover. The band was an outspoken activist and the proceeds of the album went into prison reform, but the composition of the instruments was equally loud. Listen to “you can bring your school weapons,” and you’ll hear the sad melodies and the endless wailing of the cy c sound, the drone of despair. Close the “flower of water”, one slowly build up like the speed of your military praise you! The black emperor sings a silent melody through the Brigid Dawson, and enters a Gospel service. This is the passion of Sunwatchers to dig for justice and noise, knowing that before you can heal the universe, we must heal ourselves.