From pouring over the entirety of Hunter S Thompson Day on NTS, I couldn’t help but think to myself that this is an assemblage of rough live versions, folk, psyche and just straight up rock that allows the gritting of teeth to chime in alongside – finally, an ode to the larger than life sounds that accompany the mind of Hunter.
A short note for the reissue
The principles of sludge in dub, slow motion but still driving ahead comes the complete sound of Carcass Identity to which is born out of Brussells, birthed from two longstanding musicians – Matthieu Levet (of Pizza Noise Mafia and Carrageenan) and Ernesto González (of Bear Bones, Lay Low, Tav Exotic, Maitres Fous).
Staring intently at an artfully framed display of pasta shapes with their given names found me in a trance at a friend’s apartment, in the background I hear a record that I knew they cherished and under that, softened chatter between them, it took me a moment to snap out of my Trofie Trance – I was asked to spare a thought.
The first percussive patterns I was taught at the age of fourteen stemmed from the sphere of the Jazz world, and I imagine it was a similar path for every other percussionist even on a level where it is not made clear, it would be difficult not to find influences in other musical forms that didn’t originally stem from Jazz. Being brought up on a diet of modern music in the family I was never subjected to Jazz, nor was it explored in depth at school; it was purely for practice, a practice in where I did not learn about the musician behind the tubs’, I had incorporated what I had heard here into my style of playing moving on to joining metal and punk acts.
It wasn’t until later in life that I begun opening this particular world to my ears but with already trained ears I always pick out the percussion section first; so when I discovered the works of Art Blakey, Bernard Purdie and Kenny Clarke, Clarke who had pioneered the use of signature swing in be-bop, had I begun to truly understand their importance and innovative practices. The amount of appreciation gained through just listening has lead me on a passionate journey of discovery and those names above are just a few that offered great influence and artistry that go beyond the basic patterns in which were dominant in the earlier styles of Jazz music, particularly swing – it became necessary break these patterns and open up new possibilities and explore deeper creativity.
During my auto-didactic study of Jazz and its surrounding literature, there exists a language, a language that has sparked a curiosity in uncovering its roots, and although the tune has been sung to some degree (thank you to the 1996 study by Joel Dinerstein) I wanted to revisit this and reinforce the credit to a one, Lester Young – a name who is lost amongst the behemoths of Jazz.
To which we begin Profiling the Cool.
Thank you to Avalon Emerson and the creative folks behind the simple but inclusive idea of celebrating yearly lists by including a direct path to the music available in the digital medium, on the always fantastic and never shunned, Bandcamp.
Yearly lists often rarely give full navigation to purchasable content, with compilers often neglecting this in their drunk-off-own-ego vocalisation parade, but here we see that simple connection made.
Without further adieu please find a selection of twenty musics for your embrace.