I Start Counting (Basil Kirchin)
Trunk Records kick off their 2018 schedule with a double feature of Basil Kirchin soundtracks to the film I Start Counting [1970] and the documentary Third World, whose creation Jonny Trunk dates to the early ‘80s.
Arriving some months after Superior Viaduct’s necessary reissue of Basil’s mental 2nd World Within Worlds album, this suite helps illustrate the inimitable breadth and style of the late composer’s oeuvre in the most endearing way.
Where Worlds Within Worlds wowed with otherworldly psychedelic technique, Basil brings us back to more earthly matters with a dreamy blend of bubbling pastoral pop themes shot thru with traces of Far eastern scales and instrumentation and offset by jabs of free jazz in the score to I Start Counting, most notably on the title track sung by Lindsey Moore (daughter of Barbara Moore).
And again for contrast, the Third World documentary soundtrack gives up 11 nifty cue vignettes revolving juicy bass motifs, clipped percussion and parping syn-flute stabs. If you asked us, particularly after listening to the creamy digital smoothness of Third World - Track 3 and the New Jack swang of Third World - Track 10 + 11, we’d almost wager they were made in late ‘80s Japan, not early ‘80s Hull, England.
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Trunk Records kick off their 2018 schedule with a double feature of Basil Kirchin soundtracks to the film I Start Counting [1970] and the documentary Third World, whose creation Jonny Trunk dates to the early ‘80s.
Arriving some months after Superior Viaduct’s necessary reissue of Basil’s mental 2nd World Within Worlds album, this suite helps illustrate the inimitable breadth and style of the late composer’s oeuvre in the most endearing way.
Where Worlds Within Worlds wowed with otherworldly psychedelic technique, Basil brings us back to more earthly matters with a dreamy blend of bubbling pastoral pop themes shot thru with traces of Far eastern scales and instrumentation and offset by jabs of free jazz in the score to I Start Counting, most notably on the title track sung by Lindsey Moore (daughter of Barbara Moore).
And again for contrast, the Third World documentary soundtrack gives up 11 nifty cue vignettes revolving juicy bass motifs, clipped percussion and parping syn-flute stabs. If you asked us, particularly after listening to the creamy digital smoothness of Third World - Track 3 and the New Jack swang of Third World - Track 10 + 11, we’d almost wager they were made in late ‘80s Japan, not early ‘80s Hull, England.
Trunk Records kick off their 2018 schedule with a double feature of Basil Kirchin soundtracks to the film I Start Counting [1970] and the documentary Third World, whose creation Jonny Trunk dates to the early ‘80s.
Arriving some months after Superior Viaduct’s necessary reissue of Basil’s mental 2nd World Within Worlds album, this suite helps illustrate the inimitable breadth and style of the late composer’s oeuvre in the most endearing way.
Where Worlds Within Worlds wowed with otherworldly psychedelic technique, Basil brings us back to more earthly matters with a dreamy blend of bubbling pastoral pop themes shot thru with traces of Far eastern scales and instrumentation and offset by jabs of free jazz in the score to I Start Counting, most notably on the title track sung by Lindsey Moore (daughter of Barbara Moore).
And again for contrast, the Third World documentary soundtrack gives up 11 nifty cue vignettes revolving juicy bass motifs, clipped percussion and parping syn-flute stabs. If you asked us, particularly after listening to the creamy digital smoothness of Third World - Track 3 and the New Jack swang of Third World - Track 10 + 11, we’d almost wager they were made in late ‘80s Japan, not early ‘80s Hull, England.
Trunk Records kick off their 2018 schedule with a double feature of Basil Kirchin soundtracks to the film I Start Counting [1970] and the documentary Third World, whose creation Jonny Trunk dates to the early ‘80s.
Arriving some months after Superior Viaduct’s necessary reissue of Basil’s mental 2nd World Within Worlds album, this suite helps illustrate the inimitable breadth and style of the late composer’s oeuvre in the most endearing way.
Where Worlds Within Worlds wowed with otherworldly psychedelic technique, Basil brings us back to more earthly matters with a dreamy blend of bubbling pastoral pop themes shot thru with traces of Far eastern scales and instrumentation and offset by jabs of free jazz in the score to I Start Counting, most notably on the title track sung by Lindsey Moore (daughter of Barbara Moore).
And again for contrast, the Third World documentary soundtrack gives up 11 nifty cue vignettes revolving juicy bass motifs, clipped percussion and parping syn-flute stabs. If you asked us, particularly after listening to the creamy digital smoothness of Third World - Track 3 and the New Jack swang of Third World - Track 10 + 11, we’d almost wager they were made in late ‘80s Japan, not early ‘80s Hull, England.
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Trunk Records kick off their 2018 schedule with a double feature of Basil Kirchin soundtracks to the film I Start Counting [1970] and the documentary Third World, whose creation Jonny Trunk dates to the early ‘80s.
Arriving some months after Superior Viaduct’s necessary reissue of Basil’s mental 2nd World Within Worlds album, this suite helps illustrate the inimitable breadth and style of the late composer’s oeuvre in the most endearing way.
Where Worlds Within Worlds wowed with otherworldly psychedelic technique, Basil brings us back to more earthly matters with a dreamy blend of bubbling pastoral pop themes shot thru with traces of Far eastern scales and instrumentation and offset by jabs of free jazz in the score to I Start Counting, most notably on the title track sung by Lindsey Moore (daughter of Barbara Moore).
And again for contrast, the Third World documentary soundtrack gives up 11 nifty cue vignettes revolving juicy bass motifs, clipped percussion and parping syn-flute stabs. If you asked us, particularly after listening to the creamy digital smoothness of Third World - Track 3 and the New Jack swang of Third World - Track 10 + 11, we’d almost wager they were made in late ‘80s Japan, not early ‘80s Hull, England.