Looking Through Us
Saint Abdullah & Jason Nazary
Looking Through Us
Boomkat Product Review:
A companion to February's excellent 'Evicted in the Morning', 'Looking Through Us' is an ecstatic soundclash from Tehran-born brothers Mohammad and Mehdi Mehrabani-Yeganeh and drummer Jason Nazary, on a fully unhinged set that shreds at the intersection of Lightning Bolt and DJ Spooky
We were blown away by 'Evicted in the Morning' and so didn't need much convincing here; over the last few years, Saint Abdullah have contributed a steady stream of dizzying plates, from the brilliant PTP-released 'Stars Have Eyes' and two-part masterpiece 'To Live A La West' to the duo's collaboration with Irish producer Eomac, 'Patience of a Traitor'. With Nazary, who's best known for his work with the sorely-missed Jamie Branch as Anteloper, Mohammad and Mehdi throw their impulsive electronics against a barrage of splattery drums, working between free jazz, noise rock and sacred music.
'Looking Through Us' is a reminder of what made the album's predecessor so vital. Nazary's drums sound like saturated noise discharges, exploding in-between Mohammad and Mehdi's alchemical slop of electronic kicks and Sufi chants. It's over almost before it's started, but the track neatly prepares us for the blowout of 'Amoo Sam', featuring sax virtuoso Patrick Shiroishi on horn. Wailing over a screwed bump and garbled, echoing oscillations, Shiroishi mimics the brothers' shrill, serrated warbles, fashioning a controlled cacophony of noise, jazz and dubwise illbience.
In places it's almost grindcore, with tracks ranging from screeching, minute-long blasts to lengthier disintegrations. On 'Claustrociety', the three sound like Wolf Eyes as they build up a short, sharp skronk from pacy drum blasts and breathy, distorted horns, and on 'Lo-Tech Mystic' they conjure a manic ritual that says what it needs to say in just a minute and a half. So much for meditation music. Later, on 'Swimming in Outer Space', they lower the tempo for a moment, interspersing sparse drum hits with celestial electric piano disruptions and burbling synths. And on 'Sensate Ocean', rousing chants are almost disintegrated by Nazary's rapid-fire rolls. Strong gear.
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Boomkat Product Review:
A companion to February's excellent 'Evicted in the Morning', 'Looking Through Us' is an ecstatic soundclash from Tehran-born brothers Mohammad and Mehdi Mehrabani-Yeganeh and drummer Jason Nazary, on a fully unhinged set that shreds at the intersection of Lightning Bolt and DJ Spooky
We were blown away by 'Evicted in the Morning' and so didn't need much convincing here; over the last few years, Saint Abdullah have contributed a steady stream of dizzying plates, from the brilliant PTP-released 'Stars Have Eyes' and two-part masterpiece 'To Live A La West' to the duo's collaboration with Irish producer Eomac, 'Patience of a Traitor'. With Nazary, who's best known for his work with the sorely-missed Jamie Branch as Anteloper, Mohammad and Mehdi throw their impulsive electronics against a barrage of splattery drums, working between free jazz, noise rock and sacred music.
'Looking Through Us' is a reminder of what made the album's predecessor so vital. Nazary's drums sound like saturated noise discharges, exploding in-between Mohammad and Mehdi's alchemical slop of electronic kicks and Sufi chants. It's over almost before it's started, but the track neatly prepares us for the blowout of 'Amoo Sam', featuring sax virtuoso Patrick Shiroishi on horn. Wailing over a screwed bump and garbled, echoing oscillations, Shiroishi mimics the brothers' shrill, serrated warbles, fashioning a controlled cacophony of noise, jazz and dubwise illbience.
In places it's almost grindcore, with tracks ranging from screeching, minute-long blasts to lengthier disintegrations. On 'Claustrociety', the three sound like Wolf Eyes as they build up a short, sharp skronk from pacy drum blasts and breathy, distorted horns, and on 'Lo-Tech Mystic' they conjure a manic ritual that says what it needs to say in just a minute and a half. So much for meditation music. Later, on 'Swimming in Outer Space', they lower the tempo for a moment, interspersing sparse drum hits with celestial electric piano disruptions and burbling synths. And on 'Sensate Ocean', rousing chants are almost disintegrated by Nazary's rapid-fire rolls. Strong gear.
Boomkat Product Review:
A companion to February's excellent 'Evicted in the Morning', 'Looking Through Us' is an ecstatic soundclash from Tehran-born brothers Mohammad and Mehdi Mehrabani-Yeganeh and drummer Jason Nazary, on a fully unhinged set that shreds at the intersection of Lightning Bolt and DJ Spooky
We were blown away by 'Evicted in the Morning' and so didn't need much convincing here; over the last few years, Saint Abdullah have contributed a steady stream of dizzying plates, from the brilliant PTP-released 'Stars Have Eyes' and two-part masterpiece 'To Live A La West' to the duo's collaboration with Irish producer Eomac, 'Patience of a Traitor'. With Nazary, who's best known for his work with the sorely-missed Jamie Branch as Anteloper, Mohammad and Mehdi throw their impulsive electronics against a barrage of splattery drums, working between free jazz, noise rock and sacred music.
'Looking Through Us' is a reminder of what made the album's predecessor so vital. Nazary's drums sound like saturated noise discharges, exploding in-between Mohammad and Mehdi's alchemical slop of electronic kicks and Sufi chants. It's over almost before it's started, but the track neatly prepares us for the blowout of 'Amoo Sam', featuring sax virtuoso Patrick Shiroishi on horn. Wailing over a screwed bump and garbled, echoing oscillations, Shiroishi mimics the brothers' shrill, serrated warbles, fashioning a controlled cacophony of noise, jazz and dubwise illbience.
In places it's almost grindcore, with tracks ranging from screeching, minute-long blasts to lengthier disintegrations. On 'Claustrociety', the three sound like Wolf Eyes as they build up a short, sharp skronk from pacy drum blasts and breathy, distorted horns, and on 'Lo-Tech Mystic' they conjure a manic ritual that says what it needs to say in just a minute and a half. So much for meditation music. Later, on 'Swimming in Outer Space', they lower the tempo for a moment, interspersing sparse drum hits with celestial electric piano disruptions and burbling synths. And on 'Sensate Ocean', rousing chants are almost disintegrated by Nazary's rapid-fire rolls. Strong gear.
Boomkat Product Review:
A companion to February's excellent 'Evicted in the Morning', 'Looking Through Us' is an ecstatic soundclash from Tehran-born brothers Mohammad and Mehdi Mehrabani-Yeganeh and drummer Jason Nazary, on a fully unhinged set that shreds at the intersection of Lightning Bolt and DJ Spooky
We were blown away by 'Evicted in the Morning' and so didn't need much convincing here; over the last few years, Saint Abdullah have contributed a steady stream of dizzying plates, from the brilliant PTP-released 'Stars Have Eyes' and two-part masterpiece 'To Live A La West' to the duo's collaboration with Irish producer Eomac, 'Patience of a Traitor'. With Nazary, who's best known for his work with the sorely-missed Jamie Branch as Anteloper, Mohammad and Mehdi throw their impulsive electronics against a barrage of splattery drums, working between free jazz, noise rock and sacred music.
'Looking Through Us' is a reminder of what made the album's predecessor so vital. Nazary's drums sound like saturated noise discharges, exploding in-between Mohammad and Mehdi's alchemical slop of electronic kicks and Sufi chants. It's over almost before it's started, but the track neatly prepares us for the blowout of 'Amoo Sam', featuring sax virtuoso Patrick Shiroishi on horn. Wailing over a screwed bump and garbled, echoing oscillations, Shiroishi mimics the brothers' shrill, serrated warbles, fashioning a controlled cacophony of noise, jazz and dubwise illbience.
In places it's almost grindcore, with tracks ranging from screeching, minute-long blasts to lengthier disintegrations. On 'Claustrociety', the three sound like Wolf Eyes as they build up a short, sharp skronk from pacy drum blasts and breathy, distorted horns, and on 'Lo-Tech Mystic' they conjure a manic ritual that says what it needs to say in just a minute and a half. So much for meditation music. Later, on 'Swimming in Outer Space', they lower the tempo for a moment, interspersing sparse drum hits with celestial electric piano disruptions and burbling synths. And on 'Sensate Ocean', rousing chants are almost disintegrated by Nazary's rapid-fire rolls. Strong gear.
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