Back on home turf at Trule, Al Wootton wears his polyrhythmic club cap on four percussive trips after excursions with Valentina Magaletti and Susumu Mukai as Holy Tongue
As with recent years’ turns toward more offbeat rhythm and meter, Wootton maintains a wonky ballast for supple dancers across ‘River Song’. They follow a certain declension of energies and rhythmic democracy from tune to tune, starting up rolling and acid-psychedelic like early ‘90s PWOG with ‘Xana’, and stretching out on West African-styled swing punctuated with Mbalax-esque talking drum detonations haunted with creepy sound design. ‘River Song’ continues that sort of dubbed Mbalax on a Mark Ernestus Ndagga Rhythm Force tip with sloshing bass and phantasmic synths, and ‘Hechicera’ simmers it all down to a palpitating goo leavened with rhythmelodic woodblocks.
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Back on home turf at Trule, Al Wootton wears his polyrhythmic club cap on four percussive trips after excursions with Valentina Magaletti and Susumu Mukai as Holy Tongue
As with recent years’ turns toward more offbeat rhythm and meter, Wootton maintains a wonky ballast for supple dancers across ‘River Song’. They follow a certain declension of energies and rhythmic democracy from tune to tune, starting up rolling and acid-psychedelic like early ‘90s PWOG with ‘Xana’, and stretching out on West African-styled swing punctuated with Mbalax-esque talking drum detonations haunted with creepy sound design. ‘River Song’ continues that sort of dubbed Mbalax on a Mark Ernestus Ndagga Rhythm Force tip with sloshing bass and phantasmic synths, and ‘Hechicera’ simmers it all down to a palpitating goo leavened with rhythmelodic woodblocks.
Back on home turf at Trule, Al Wootton wears his polyrhythmic club cap on four percussive trips after excursions with Valentina Magaletti and Susumu Mukai as Holy Tongue
As with recent years’ turns toward more offbeat rhythm and meter, Wootton maintains a wonky ballast for supple dancers across ‘River Song’. They follow a certain declension of energies and rhythmic democracy from tune to tune, starting up rolling and acid-psychedelic like early ‘90s PWOG with ‘Xana’, and stretching out on West African-styled swing punctuated with Mbalax-esque talking drum detonations haunted with creepy sound design. ‘River Song’ continues that sort of dubbed Mbalax on a Mark Ernestus Ndagga Rhythm Force tip with sloshing bass and phantasmic synths, and ‘Hechicera’ simmers it all down to a palpitating goo leavened with rhythmelodic woodblocks.
Back on home turf at Trule, Al Wootton wears his polyrhythmic club cap on four percussive trips after excursions with Valentina Magaletti and Susumu Mukai as Holy Tongue
As with recent years’ turns toward more offbeat rhythm and meter, Wootton maintains a wonky ballast for supple dancers across ‘River Song’. They follow a certain declension of energies and rhythmic democracy from tune to tune, starting up rolling and acid-psychedelic like early ‘90s PWOG with ‘Xana’, and stretching out on West African-styled swing punctuated with Mbalax-esque talking drum detonations haunted with creepy sound design. ‘River Song’ continues that sort of dubbed Mbalax on a Mark Ernestus Ndagga Rhythm Force tip with sloshing bass and phantasmic synths, and ‘Hechicera’ simmers it all down to a palpitating goo leavened with rhythmelodic woodblocks.