Keiji Haino / Jim O'Rourke / Oren Ambarchi
Tima Formosa
Recorded in January 2009 at the Playhouse, Kitakyushu, Japan, Tima Formosa documents the debut meeting of three iconic experimental artists: Oren Ambarchi joins with the great Keiji Haino and Jim O'Rourke, the latter of whom recorded this just a few months prior to the new Fenn O'Berg album - his other great three-way collaboration that's emerged over recent weeks. This hour-long performance is divided into three parts, the first of which begins in a familiar enough fashion: Ambarchi's signature rumbling, clicking guitar drone is present, while some sort of slowly modulating amp buzz emerges from the background. After such a relatively mild, inauspicious beginning the recording soon begins to ascend towards something altogether more impressive, and it's Haino who's at the forefront of this, adding a kind of pious choirboy vocal to a soundscape that's full of woofer-worrying sub bass and untamed, raw electronics. The outcome is a remarkable, operatic first part to this triptych, but it only gets better from here onwards: 'Tima Formosa 2' retains Haino's soaring castrato croon, but Jim O'Rourke's complex and atonal piano parts come to the forefront, backed up by static, motorised drones. After this florid sub-four-minute piece the album settles into a lengthy final furlong. 'Tima Formosa 3' is just stunning, stirring from a near infra-sonic Ambarchi drone before Haino's piercing flute tones offer a wandering top-end presence. Soon, you start to hear O'Rourke rummaging around in the insides of his piano and the booming guitar drones start to get louder before eventually, Haino introduces a line in thunderous drum machine pulses and just prior to the twenty minute mark you're practically in avant-metal territory. Momentarily the tone has shifted to something in the vicinity of a Wolf Eyes album or a particularly lurid slasher film soundtrack, only ebbing away to a more stately temperament for a wonderful finale in which most of these abrasive electronic signals recede to reveal O'Rourke's melancholy piano musings. If you're a follower of any of the artists involved you'll want to check this out, but certainly if you've been keen on such avant-garde electronics summits as Ambarchi/Fennesz/Pimmon/Rehberg/Rowe's Afternoon Tea, or indeed the aforementioned new Fenn O'Berg album, this is pretty essential stuff.
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Recorded in January 2009 at the Playhouse, Kitakyushu, Japan, Tima Formosa documents the debut meeting of three iconic experimental artists: Oren Ambarchi joins with the great Keiji Haino and Jim O'Rourke, the latter of whom recorded this just a few months prior to the new Fenn O'Berg album - his other great three-way collaboration that's emerged over recent weeks. This hour-long performance is divided into three parts, the first of which begins in a familiar enough fashion: Ambarchi's signature rumbling, clicking guitar drone is present, while some sort of slowly modulating amp buzz emerges from the background. After such a relatively mild, inauspicious beginning the recording soon begins to ascend towards something altogether more impressive, and it's Haino who's at the forefront of this, adding a kind of pious choirboy vocal to a soundscape that's full of woofer-worrying sub bass and untamed, raw electronics. The outcome is a remarkable, operatic first part to this triptych, but it only gets better from here onwards: 'Tima Formosa 2' retains Haino's soaring castrato croon, but Jim O'Rourke's complex and atonal piano parts come to the forefront, backed up by static, motorised drones. After this florid sub-four-minute piece the album settles into a lengthy final furlong. 'Tima Formosa 3' is just stunning, stirring from a near infra-sonic Ambarchi drone before Haino's piercing flute tones offer a wandering top-end presence. Soon, you start to hear O'Rourke rummaging around in the insides of his piano and the booming guitar drones start to get louder before eventually, Haino introduces a line in thunderous drum machine pulses and just prior to the twenty minute mark you're practically in avant-metal territory. Momentarily the tone has shifted to something in the vicinity of a Wolf Eyes album or a particularly lurid slasher film soundtrack, only ebbing away to a more stately temperament for a wonderful finale in which most of these abrasive electronic signals recede to reveal O'Rourke's melancholy piano musings. If you're a follower of any of the artists involved you'll want to check this out, but certainly if you've been keen on such avant-garde electronics summits as Ambarchi/Fennesz/Pimmon/Rehberg/Rowe's Afternoon Tea, or indeed the aforementioned new Fenn O'Berg album, this is pretty essential stuff.
Recorded in January 2009 at the Playhouse, Kitakyushu, Japan, Tima Formosa documents the debut meeting of three iconic experimental artists: Oren Ambarchi joins with the great Keiji Haino and Jim O'Rourke, the latter of whom recorded this just a few months prior to the new Fenn O'Berg album - his other great three-way collaboration that's emerged over recent weeks. This hour-long performance is divided into three parts, the first of which begins in a familiar enough fashion: Ambarchi's signature rumbling, clicking guitar drone is present, while some sort of slowly modulating amp buzz emerges from the background. After such a relatively mild, inauspicious beginning the recording soon begins to ascend towards something altogether more impressive, and it's Haino who's at the forefront of this, adding a kind of pious choirboy vocal to a soundscape that's full of woofer-worrying sub bass and untamed, raw electronics. The outcome is a remarkable, operatic first part to this triptych, but it only gets better from here onwards: 'Tima Formosa 2' retains Haino's soaring castrato croon, but Jim O'Rourke's complex and atonal piano parts come to the forefront, backed up by static, motorised drones. After this florid sub-four-minute piece the album settles into a lengthy final furlong. 'Tima Formosa 3' is just stunning, stirring from a near infra-sonic Ambarchi drone before Haino's piercing flute tones offer a wandering top-end presence. Soon, you start to hear O'Rourke rummaging around in the insides of his piano and the booming guitar drones start to get louder before eventually, Haino introduces a line in thunderous drum machine pulses and just prior to the twenty minute mark you're practically in avant-metal territory. Momentarily the tone has shifted to something in the vicinity of a Wolf Eyes album or a particularly lurid slasher film soundtrack, only ebbing away to a more stately temperament for a wonderful finale in which most of these abrasive electronic signals recede to reveal O'Rourke's melancholy piano musings. If you're a follower of any of the artists involved you'll want to check this out, but certainly if you've been keen on such avant-garde electronics summits as Ambarchi/Fennesz/Pimmon/Rehberg/Rowe's Afternoon Tea, or indeed the aforementioned new Fenn O'Berg album, this is pretty essential stuff.