Mariam Rezaei
BOWN
Boomkat Product Review:
Turntablist and composer Mariam Rezaei completes her ambitious, pithy triptych with 'BOWN', her debut for the Heat Crimes imprint. Flipping the concept of turntable-based music on its head, she fractures free jazz, noise, death drone and operatic fragments into a broken tangle of spinbacks, pitchbends, loping rhythms and perverted side-eyes. Featuring collaborations with Teresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez, it's crucial listening for anyone into Maria Chávez, Evicshen, Marina Rosenfeld, Stock, Hausen & Walkman, I-Sound or Philip Jeck.
Billed as the central part of a triptych, 'BOWN' boasts some of Rezaei’s most pressing and rewarding work to date. It’s one of those albums that doesn’t get swallowed up by its own concept, harnessing extreme technical prowess fuelled by deep, sometimes visceral emotional and mental energies that reach a terrifying climax on the brilliant ‘Glass Bastard’ featuring Teresa Winter and Guttersnipe drummer Bobby Glu, an almost phantasmagoric counterpart to Flower/Corsano Duo's frantic improvisations that sounds like the sort of thing you’d reopen the Nurse With Wound list for.
‘It COULD be jazz' - a droll answer to a comment Rezaei received at last year's London Jazz Festival - is next, finding her kinetic and fired-up, using her command of the turntable to chop into raucous horn solos like Peter Brötzmann or Albert Ayler after a particularly heavy night. Bobby Glue provides drums again, but here Rezaei doesn't restrain herself at all, scrubbing rhythms out of spunky rattles.
On 'HMMM', she takes the human voice and queers its natural vacillations, bending it wildly as the pitch slides like some unstable Gregorian chant. Glitches and skips remind us of the process, as thick, syrupy subs rumble below, while the composer shifts voice between operatic wail and barely-there hum. Retaining the vocal theme, Rezaei adds animalistic howls from YEAH YOU's Gwily Edmondez on 'GEORDIE SPICE', transforming his feral squeals into high-pitched chirps and distorted machine whirrs. A celestial invocation rises from the noise, before clattering percussion rocks through the aether, demolishing the track with irregular bumps and scratches.
'MARIAMBA', uses Lucas Koenig's rounded woodblock hits to focus dramatic, saturated organ drones and scratchy loops. Like a demented 1950s Hollywood soundtrack put through a mangle, it's theatrical but deeply self-aware, zeroing in on the textural qualities of the instrumentation. On 'I WANT U 2' London-based soprano Alya Al-Sultani brings yet another element to the table, her echoing wails working like a counterpoint to dextrously scratched spoken phrases. It's dizzying, provocative stuff that never shies from its most experimental inclinations, balancing extreme technical fluency with humour and thematic weight, leaving you with many unanswered questions. Oh and there’s a track called ‘IDIOTIC MUSIC PEOPLE CUNTS’ which is something i’m considering tattooing on my face.
Phenomenal stuff, biggup.
View more
Boomkat Product Review:
Turntablist and composer Mariam Rezaei completes her ambitious, pithy triptych with 'BOWN', her debut for the Heat Crimes imprint. Flipping the concept of turntable-based music on its head, she fractures free jazz, noise, death drone and operatic fragments into a broken tangle of spinbacks, pitchbends, loping rhythms and perverted side-eyes. Featuring collaborations with Teresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez, it's crucial listening for anyone into Maria Chávez, Evicshen, Marina Rosenfeld, Stock, Hausen & Walkman, I-Sound or Philip Jeck.
Billed as the central part of a triptych, 'BOWN' boasts some of Rezaei’s most pressing and rewarding work to date. It’s one of those albums that doesn’t get swallowed up by its own concept, harnessing extreme technical prowess fuelled by deep, sometimes visceral emotional and mental energies that reach a terrifying climax on the brilliant ‘Glass Bastard’ featuring Teresa Winter and Guttersnipe drummer Bobby Glu, an almost phantasmagoric counterpart to Flower/Corsano Duo's frantic improvisations that sounds like the sort of thing you’d reopen the Nurse With Wound list for.
‘It COULD be jazz' - a droll answer to a comment Rezaei received at last year's London Jazz Festival - is next, finding her kinetic and fired-up, using her command of the turntable to chop into raucous horn solos like Peter Brötzmann or Albert Ayler after a particularly heavy night. Bobby Glue provides drums again, but here Rezaei doesn't restrain herself at all, scrubbing rhythms out of spunky rattles.
On 'HMMM', she takes the human voice and queers its natural vacillations, bending it wildly as the pitch slides like some unstable Gregorian chant. Glitches and skips remind us of the process, as thick, syrupy subs rumble below, while the composer shifts voice between operatic wail and barely-there hum. Retaining the vocal theme, Rezaei adds animalistic howls from YEAH YOU's Gwily Edmondez on 'GEORDIE SPICE', transforming his feral squeals into high-pitched chirps and distorted machine whirrs. A celestial invocation rises from the noise, before clattering percussion rocks through the aether, demolishing the track with irregular bumps and scratches.
'MARIAMBA', uses Lucas Koenig's rounded woodblock hits to focus dramatic, saturated organ drones and scratchy loops. Like a demented 1950s Hollywood soundtrack put through a mangle, it's theatrical but deeply self-aware, zeroing in on the textural qualities of the instrumentation. On 'I WANT U 2' London-based soprano Alya Al-Sultani brings yet another element to the table, her echoing wails working like a counterpoint to dextrously scratched spoken phrases. It's dizzying, provocative stuff that never shies from its most experimental inclinations, balancing extreme technical fluency with humour and thematic weight, leaving you with many unanswered questions. Oh and there’s a track called ‘IDIOTIC MUSIC PEOPLE CUNTS’ which is something i’m considering tattooing on my face.
Phenomenal stuff, biggup.
Boomkat Product Review:
Turntablist and composer Mariam Rezaei completes her ambitious, pithy triptych with 'BOWN', her debut for the Heat Crimes imprint. Flipping the concept of turntable-based music on its head, she fractures free jazz, noise, death drone and operatic fragments into a broken tangle of spinbacks, pitchbends, loping rhythms and perverted side-eyes. Featuring collaborations with Teresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez, it's crucial listening for anyone into Maria Chávez, Evicshen, Marina Rosenfeld, Stock, Hausen & Walkman, I-Sound or Philip Jeck.
Billed as the central part of a triptych, 'BOWN' boasts some of Rezaei’s most pressing and rewarding work to date. It’s one of those albums that doesn’t get swallowed up by its own concept, harnessing extreme technical prowess fuelled by deep, sometimes visceral emotional and mental energies that reach a terrifying climax on the brilliant ‘Glass Bastard’ featuring Teresa Winter and Guttersnipe drummer Bobby Glu, an almost phantasmagoric counterpart to Flower/Corsano Duo's frantic improvisations that sounds like the sort of thing you’d reopen the Nurse With Wound list for.
‘It COULD be jazz' - a droll answer to a comment Rezaei received at last year's London Jazz Festival - is next, finding her kinetic and fired-up, using her command of the turntable to chop into raucous horn solos like Peter Brötzmann or Albert Ayler after a particularly heavy night. Bobby Glue provides drums again, but here Rezaei doesn't restrain herself at all, scrubbing rhythms out of spunky rattles.
On 'HMMM', she takes the human voice and queers its natural vacillations, bending it wildly as the pitch slides like some unstable Gregorian chant. Glitches and skips remind us of the process, as thick, syrupy subs rumble below, while the composer shifts voice between operatic wail and barely-there hum. Retaining the vocal theme, Rezaei adds animalistic howls from YEAH YOU's Gwily Edmondez on 'GEORDIE SPICE', transforming his feral squeals into high-pitched chirps and distorted machine whirrs. A celestial invocation rises from the noise, before clattering percussion rocks through the aether, demolishing the track with irregular bumps and scratches.
'MARIAMBA', uses Lucas Koenig's rounded woodblock hits to focus dramatic, saturated organ drones and scratchy loops. Like a demented 1950s Hollywood soundtrack put through a mangle, it's theatrical but deeply self-aware, zeroing in on the textural qualities of the instrumentation. On 'I WANT U 2' London-based soprano Alya Al-Sultani brings yet another element to the table, her echoing wails working like a counterpoint to dextrously scratched spoken phrases. It's dizzying, provocative stuff that never shies from its most experimental inclinations, balancing extreme technical fluency with humour and thematic weight, leaving you with many unanswered questions. Oh and there’s a track called ‘IDIOTIC MUSIC PEOPLE CUNTS’ which is something i’m considering tattooing on my face.
Phenomenal stuff, biggup.
Boomkat Product Review:
Turntablist and composer Mariam Rezaei completes her ambitious, pithy triptych with 'BOWN', her debut for the Heat Crimes imprint. Flipping the concept of turntable-based music on its head, she fractures free jazz, noise, death drone and operatic fragments into a broken tangle of spinbacks, pitchbends, loping rhythms and perverted side-eyes. Featuring collaborations with Teresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez, it's crucial listening for anyone into Maria Chávez, Evicshen, Marina Rosenfeld, Stock, Hausen & Walkman, I-Sound or Philip Jeck.
Billed as the central part of a triptych, 'BOWN' boasts some of Rezaei’s most pressing and rewarding work to date. It’s one of those albums that doesn’t get swallowed up by its own concept, harnessing extreme technical prowess fuelled by deep, sometimes visceral emotional and mental energies that reach a terrifying climax on the brilliant ‘Glass Bastard’ featuring Teresa Winter and Guttersnipe drummer Bobby Glu, an almost phantasmagoric counterpart to Flower/Corsano Duo's frantic improvisations that sounds like the sort of thing you’d reopen the Nurse With Wound list for.
‘It COULD be jazz' - a droll answer to a comment Rezaei received at last year's London Jazz Festival - is next, finding her kinetic and fired-up, using her command of the turntable to chop into raucous horn solos like Peter Brötzmann or Albert Ayler after a particularly heavy night. Bobby Glue provides drums again, but here Rezaei doesn't restrain herself at all, scrubbing rhythms out of spunky rattles.
On 'HMMM', she takes the human voice and queers its natural vacillations, bending it wildly as the pitch slides like some unstable Gregorian chant. Glitches and skips remind us of the process, as thick, syrupy subs rumble below, while the composer shifts voice between operatic wail and barely-there hum. Retaining the vocal theme, Rezaei adds animalistic howls from YEAH YOU's Gwily Edmondez on 'GEORDIE SPICE', transforming his feral squeals into high-pitched chirps and distorted machine whirrs. A celestial invocation rises from the noise, before clattering percussion rocks through the aether, demolishing the track with irregular bumps and scratches.
'MARIAMBA', uses Lucas Koenig's rounded woodblock hits to focus dramatic, saturated organ drones and scratchy loops. Like a demented 1950s Hollywood soundtrack put through a mangle, it's theatrical but deeply self-aware, zeroing in on the textural qualities of the instrumentation. On 'I WANT U 2' London-based soprano Alya Al-Sultani brings yet another element to the table, her echoing wails working like a counterpoint to dextrously scratched spoken phrases. It's dizzying, provocative stuff that never shies from its most experimental inclinations, balancing extreme technical fluency with humour and thematic weight, leaving you with many unanswered questions. Oh and there’s a track called ‘IDIOTIC MUSIC PEOPLE CUNTS’ which is something i’m considering tattooing on my face.
Phenomenal stuff, biggup.
In Stock (Ready To Ship)
Edition of 90 copies only, comes with a download of the album dropped to your account.
Boomkat Product Review:
Turntablist and composer Mariam Rezaei completes her ambitious, pithy triptych with 'BOWN', her debut for the Heat Crimes imprint. Flipping the concept of turntable-based music on its head, she fractures free jazz, noise, death drone and operatic fragments into a broken tangle of spinbacks, pitchbends, loping rhythms and perverted side-eyes. Featuring collaborations with Teresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez, it's crucial listening for anyone into Maria Chávez, Evicshen, Marina Rosenfeld, Stock, Hausen & Walkman, I-Sound or Philip Jeck.
Billed as the central part of a triptych, 'BOWN' boasts some of Rezaei’s most pressing and rewarding work to date. It’s one of those albums that doesn’t get swallowed up by its own concept, harnessing extreme technical prowess fuelled by deep, sometimes visceral emotional and mental energies that reach a terrifying climax on the brilliant ‘Glass Bastard’ featuring Teresa Winter and Guttersnipe drummer Bobby Glu, an almost phantasmagoric counterpart to Flower/Corsano Duo's frantic improvisations that sounds like the sort of thing you’d reopen the Nurse With Wound list for.
‘It COULD be jazz' - a droll answer to a comment Rezaei received at last year's London Jazz Festival - is next, finding her kinetic and fired-up, using her command of the turntable to chop into raucous horn solos like Peter Brötzmann or Albert Ayler after a particularly heavy night. Bobby Glue provides drums again, but here Rezaei doesn't restrain herself at all, scrubbing rhythms out of spunky rattles.
On 'HMMM', she takes the human voice and queers its natural vacillations, bending it wildly as the pitch slides like some unstable Gregorian chant. Glitches and skips remind us of the process, as thick, syrupy subs rumble below, while the composer shifts voice between operatic wail and barely-there hum. Retaining the vocal theme, Rezaei adds animalistic howls from YEAH YOU's Gwily Edmondez on 'GEORDIE SPICE', transforming his feral squeals into high-pitched chirps and distorted machine whirrs. A celestial invocation rises from the noise, before clattering percussion rocks through the aether, demolishing the track with irregular bumps and scratches.
'MARIAMBA', uses Lucas Koenig's rounded woodblock hits to focus dramatic, saturated organ drones and scratchy loops. Like a demented 1950s Hollywood soundtrack put through a mangle, it's theatrical but deeply self-aware, zeroing in on the textural qualities of the instrumentation. On 'I WANT U 2' London-based soprano Alya Al-Sultani brings yet another element to the table, her echoing wails working like a counterpoint to dextrously scratched spoken phrases. It's dizzying, provocative stuff that never shies from its most experimental inclinations, balancing extreme technical fluency with humour and thematic weight, leaving you with many unanswered questions. Oh and there’s a track called ‘IDIOTIC MUSIC PEOPLE CUNTS’ which is something i’m considering tattooing on my face.
Phenomenal stuff, biggup.
More from Heat Crimes:
-
FREE MP3 WITH VINYLCrave Inner War Delirium Heat Crimes Electronic- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLOptiki Mousiki Tomos 2 Heat Crimes Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
Optiki Mousiki Untitled 1 Heat Crimes Electronic
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLpopon bubu Heat Crimes Electronic
- MP3
- FLAC
- WAV
- Cassette
-
FREE MP3 WITH VINYLThe Ephemeron Loop Psychonautic Escapism Heat Crimes Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
People who bought this also bought:
-
FREE MP3 WITH VINYLMark Fell and WIll Guthrie Infoldings / Diffractions NAKID Electronic
- MP3
- FLAC
- WAV
- CD
-
FREE MP3 WITH VINYLHTRK Death Is a Dream N&J Blueberries Electronic
- MP3
- FLAC
- WAV
- Cassette
-
FREE MP3 WITH VINYLKAKUHAN Metal Zone NAKID Electronic
- MP3
- FLAC
- WAV
- Colour LP
-
FREE MP3 WITH VINYLDJ 0.000001 Recombinant Shangaan Nyege Nyege Tapes Electronic
- Cassette
-
FREE MP3 WITH VINYLVarious Artists The NID Tapes: Electronic Music from India 1969-1972 The state51 Conspiracy Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
FREE MP3 WITH VINYLZiúr Eyeroll Hakuna Kulala Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
- Cassette
-
FREE MP3 WITH VINYLFlesh & The Dream Choose Mortality Everything Forever Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
Iceboy Violet Not a Dream But a Controlled Explosion Fixed Abode Electronic
- Cassette
-
FREE MP3 WITH VINYLFace Of Another 808 Sunset 90 DDS Electronic
- Cassette
-
FREE MP3 WITH VINYLgoat (JP) Joy In Fear NAKID Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)