Garth Erasmus
Threnody for the KhoiSan
Boomkat Product Review:
Whew!!! Quietly stunning music from Cape Town via Düsseldorf introducing KhoiSan descendent Garth Erasmus, a multi-instrumentalist channelling his South African heritage in fascinating, entrancing ways with voice and custom built kit, equal parts untraditional folk, ambient and free jazz - RIYL Ndiko Xaba & The Natives, La Timpa, Pat Thomas, Rat Heart, Moondog
Since 1985 Garth Erasmus has been active in applying indigenous knowledge of the KhoiSan - the original people of South Africa and surrounding regions - to endeavours ranging from politics to music. He was a member of South African First Nation activist group Khoi Khonnexion 1999-2012, and a part of Hamburg’s Kante thru his regular trips to perform in Europe. After recent inclusion on a TAL label survey (and a number of international compilations in recent years), Erasmus now takes his remarkable first solo bow, proper, on Stefan Schneider’s nomadic label.
‘Threnody for the KhoiSan’ slots snugly into TAL’s roster of far-flung spirits with a strong example of the label’s tastes for subtly usual moods and grooves, vibes and tonalities. It’s one where expectations should be left at the entrance and open ears will be rewarded with initiation to Erasmus’ unique soundworld, meshing field recordings with the distinctive buzz and scrape of his self-built instruments, united by his husky, accented voice and riddled by a crucial soupçon of electronics that crop up in consistently surprising stylistic fusions.
Aye we’re in special territory with this album. Between the arid, listing sax and offbeat flow of ‘Gwaing Reverie’ and an utterly absorbing, funereal closer ‘The Ascension of Milford Graves’ Erasmus summons a singular sense of spirituality from minimalist gestures. Passages of street poetry delivery such as ‘Lucelle Sista of the Soil’ gives way to a beautifully raw, nerve-strumming prayer ‘Mantis Praise’ and a series of vignettes including the incredibly haunting electro-acoustic phantom ‘Terug Blik’ and free jazz lament of his title piece. The hush of ‘Evidence of Things Unseen’ is surely comparable with La Timpa’s chamber pop, and jeez we’re simply left quivering by the gorgeous Enno Velthuys-esque ambience of ‘Rosedorp Requiem’. Yeh mate just got something in my eye, not weeping at all.
Recommended!
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Boomkat Product Review:
Whew!!! Quietly stunning music from Cape Town via Düsseldorf introducing KhoiSan descendent Garth Erasmus, a multi-instrumentalist channelling his South African heritage in fascinating, entrancing ways with voice and custom built kit, equal parts untraditional folk, ambient and free jazz - RIYL Ndiko Xaba & The Natives, La Timpa, Pat Thomas, Rat Heart, Moondog
Since 1985 Garth Erasmus has been active in applying indigenous knowledge of the KhoiSan - the original people of South Africa and surrounding regions - to endeavours ranging from politics to music. He was a member of South African First Nation activist group Khoi Khonnexion 1999-2012, and a part of Hamburg’s Kante thru his regular trips to perform in Europe. After recent inclusion on a TAL label survey (and a number of international compilations in recent years), Erasmus now takes his remarkable first solo bow, proper, on Stefan Schneider’s nomadic label.
‘Threnody for the KhoiSan’ slots snugly into TAL’s roster of far-flung spirits with a strong example of the label’s tastes for subtly usual moods and grooves, vibes and tonalities. It’s one where expectations should be left at the entrance and open ears will be rewarded with initiation to Erasmus’ unique soundworld, meshing field recordings with the distinctive buzz and scrape of his self-built instruments, united by his husky, accented voice and riddled by a crucial soupçon of electronics that crop up in consistently surprising stylistic fusions.
Aye we’re in special territory with this album. Between the arid, listing sax and offbeat flow of ‘Gwaing Reverie’ and an utterly absorbing, funereal closer ‘The Ascension of Milford Graves’ Erasmus summons a singular sense of spirituality from minimalist gestures. Passages of street poetry delivery such as ‘Lucelle Sista of the Soil’ gives way to a beautifully raw, nerve-strumming prayer ‘Mantis Praise’ and a series of vignettes including the incredibly haunting electro-acoustic phantom ‘Terug Blik’ and free jazz lament of his title piece. The hush of ‘Evidence of Things Unseen’ is surely comparable with La Timpa’s chamber pop, and jeez we’re simply left quivering by the gorgeous Enno Velthuys-esque ambience of ‘Rosedorp Requiem’. Yeh mate just got something in my eye, not weeping at all.
Recommended!
Boomkat Product Review:
Whew!!! Quietly stunning music from Cape Town via Düsseldorf introducing KhoiSan descendent Garth Erasmus, a multi-instrumentalist channelling his South African heritage in fascinating, entrancing ways with voice and custom built kit, equal parts untraditional folk, ambient and free jazz - RIYL Ndiko Xaba & The Natives, La Timpa, Pat Thomas, Rat Heart, Moondog
Since 1985 Garth Erasmus has been active in applying indigenous knowledge of the KhoiSan - the original people of South Africa and surrounding regions - to endeavours ranging from politics to music. He was a member of South African First Nation activist group Khoi Khonnexion 1999-2012, and a part of Hamburg’s Kante thru his regular trips to perform in Europe. After recent inclusion on a TAL label survey (and a number of international compilations in recent years), Erasmus now takes his remarkable first solo bow, proper, on Stefan Schneider’s nomadic label.
‘Threnody for the KhoiSan’ slots snugly into TAL’s roster of far-flung spirits with a strong example of the label’s tastes for subtly usual moods and grooves, vibes and tonalities. It’s one where expectations should be left at the entrance and open ears will be rewarded with initiation to Erasmus’ unique soundworld, meshing field recordings with the distinctive buzz and scrape of his self-built instruments, united by his husky, accented voice and riddled by a crucial soupçon of electronics that crop up in consistently surprising stylistic fusions.
Aye we’re in special territory with this album. Between the arid, listing sax and offbeat flow of ‘Gwaing Reverie’ and an utterly absorbing, funereal closer ‘The Ascension of Milford Graves’ Erasmus summons a singular sense of spirituality from minimalist gestures. Passages of street poetry delivery such as ‘Lucelle Sista of the Soil’ gives way to a beautifully raw, nerve-strumming prayer ‘Mantis Praise’ and a series of vignettes including the incredibly haunting electro-acoustic phantom ‘Terug Blik’ and free jazz lament of his title piece. The hush of ‘Evidence of Things Unseen’ is surely comparable with La Timpa’s chamber pop, and jeez we’re simply left quivering by the gorgeous Enno Velthuys-esque ambience of ‘Rosedorp Requiem’. Yeh mate just got something in my eye, not weeping at all.
Recommended!
Boomkat Product Review:
Whew!!! Quietly stunning music from Cape Town via Düsseldorf introducing KhoiSan descendent Garth Erasmus, a multi-instrumentalist channelling his South African heritage in fascinating, entrancing ways with voice and custom built kit, equal parts untraditional folk, ambient and free jazz - RIYL Ndiko Xaba & The Natives, La Timpa, Pat Thomas, Rat Heart, Moondog
Since 1985 Garth Erasmus has been active in applying indigenous knowledge of the KhoiSan - the original people of South Africa and surrounding regions - to endeavours ranging from politics to music. He was a member of South African First Nation activist group Khoi Khonnexion 1999-2012, and a part of Hamburg’s Kante thru his regular trips to perform in Europe. After recent inclusion on a TAL label survey (and a number of international compilations in recent years), Erasmus now takes his remarkable first solo bow, proper, on Stefan Schneider’s nomadic label.
‘Threnody for the KhoiSan’ slots snugly into TAL’s roster of far-flung spirits with a strong example of the label’s tastes for subtly usual moods and grooves, vibes and tonalities. It’s one where expectations should be left at the entrance and open ears will be rewarded with initiation to Erasmus’ unique soundworld, meshing field recordings with the distinctive buzz and scrape of his self-built instruments, united by his husky, accented voice and riddled by a crucial soupçon of electronics that crop up in consistently surprising stylistic fusions.
Aye we’re in special territory with this album. Between the arid, listing sax and offbeat flow of ‘Gwaing Reverie’ and an utterly absorbing, funereal closer ‘The Ascension of Milford Graves’ Erasmus summons a singular sense of spirituality from minimalist gestures. Passages of street poetry delivery such as ‘Lucelle Sista of the Soil’ gives way to a beautifully raw, nerve-strumming prayer ‘Mantis Praise’ and a series of vignettes including the incredibly haunting electro-acoustic phantom ‘Terug Blik’ and free jazz lament of his title piece. The hush of ‘Evidence of Things Unseen’ is surely comparable with La Timpa’s chamber pop, and jeez we’re simply left quivering by the gorgeous Enno Velthuys-esque ambience of ‘Rosedorp Requiem’. Yeh mate just got something in my eye, not weeping at all.
Recommended!
Back in stock - Edition of 400 copies. With printed inner.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Whew!!! Quietly stunning music from Cape Town via Düsseldorf introducing KhoiSan descendent Garth Erasmus, a multi-instrumentalist channelling his South African heritage in fascinating, entrancing ways with voice and custom built kit, equal parts untraditional folk, ambient and free jazz - RIYL Ndiko Xaba & The Natives, La Timpa, Pat Thomas, Rat Heart, Moondog
Since 1985 Garth Erasmus has been active in applying indigenous knowledge of the KhoiSan - the original people of South Africa and surrounding regions - to endeavours ranging from politics to music. He was a member of South African First Nation activist group Khoi Khonnexion 1999-2012, and a part of Hamburg’s Kante thru his regular trips to perform in Europe. After recent inclusion on a TAL label survey (and a number of international compilations in recent years), Erasmus now takes his remarkable first solo bow, proper, on Stefan Schneider’s nomadic label.
‘Threnody for the KhoiSan’ slots snugly into TAL’s roster of far-flung spirits with a strong example of the label’s tastes for subtly usual moods and grooves, vibes and tonalities. It’s one where expectations should be left at the entrance and open ears will be rewarded with initiation to Erasmus’ unique soundworld, meshing field recordings with the distinctive buzz and scrape of his self-built instruments, united by his husky, accented voice and riddled by a crucial soupçon of electronics that crop up in consistently surprising stylistic fusions.
Aye we’re in special territory with this album. Between the arid, listing sax and offbeat flow of ‘Gwaing Reverie’ and an utterly absorbing, funereal closer ‘The Ascension of Milford Graves’ Erasmus summons a singular sense of spirituality from minimalist gestures. Passages of street poetry delivery such as ‘Lucelle Sista of the Soil’ gives way to a beautifully raw, nerve-strumming prayer ‘Mantis Praise’ and a series of vignettes including the incredibly haunting electro-acoustic phantom ‘Terug Blik’ and free jazz lament of his title piece. The hush of ‘Evidence of Things Unseen’ is surely comparable with La Timpa’s chamber pop, and jeez we’re simply left quivering by the gorgeous Enno Velthuys-esque ambience of ‘Rosedorp Requiem’. Yeh mate just got something in my eye, not weeping at all.
Recommended!
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