Vladislav Delay Quartet
Vladislav Delay Quartet
Vladislav Delay Quartet
Boomkat Product Review:
He's served tirelessly in the Moritz Von Oswald Trio, but now Sasu Ripatti takes centre-stage with his own improv ensemble, The Vladislav Delay Quartet. He's joined by Lucio Capece on clarinet and sax, Derek Shirley on double bass and - most interestingly, and most audibly - Mika Vainio on electronics. The Pan Sonic man's sonic signature makes itself felt from the off, opening cut 'Minus Degrees, Bare Feet, Tickles' driven by roaring industrial noise as only he can style it. Things get really interesting with 'Santa Teresa', Shirley's bass plucks conspiring with Delay's pots 'n pans to create an almost dubstep skank. Across this lurching groove, Capece uncurls scything sheets of sax drone and Vainio squirts the kind of trebly sine tones that will be blissfully familiar to fans of his Ø recordings. Unlike the more pensive MVO Trio, the Vladislav Delay Quartet explore darker, harsher terrain, as heard especially on 'Des Abends' which crashes and groans and growls like a drunk Godzilla trying to find his missing spanner. 'Hotokivi' is a power electronics assault in the vein of Prurient or Kevin Drumm, but with a depth and dynamism that betrays its studied and patiently wrought creation, and 'Killing The Water Bed' is perhaps closest to what we'd expected from the album: smacked-out, dub-inflected free jazz, Capece's bass clarinet billowing through Delay's ride and cymbal crashes. The near-ambient 'Presentiment' cleanses the palette for the face-melting 'Louhos' - it's the sound of the Quartet collective freaking-out, Vainio and Ripatti serving up ear-smacking techno rhythm and layer upon layer of electronic scree, while that looped sax lacerates all that lies before it. Seriously intense and provocative stuff, this; an essential purchase for adventurous ears and minds.
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Boomkat Product Review:
He's served tirelessly in the Moritz Von Oswald Trio, but now Sasu Ripatti takes centre-stage with his own improv ensemble, The Vladislav Delay Quartet. He's joined by Lucio Capece on clarinet and sax, Derek Shirley on double bass and - most interestingly, and most audibly - Mika Vainio on electronics. The Pan Sonic man's sonic signature makes itself felt from the off, opening cut 'Minus Degrees, Bare Feet, Tickles' driven by roaring industrial noise as only he can style it. Things get really interesting with 'Santa Teresa', Shirley's bass plucks conspiring with Delay's pots 'n pans to create an almost dubstep skank. Across this lurching groove, Capece uncurls scything sheets of sax drone and Vainio squirts the kind of trebly sine tones that will be blissfully familiar to fans of his Ø recordings. Unlike the more pensive MVO Trio, the Vladislav Delay Quartet explore darker, harsher terrain, as heard especially on 'Des Abends' which crashes and groans and growls like a drunk Godzilla trying to find his missing spanner. 'Hotokivi' is a power electronics assault in the vein of Prurient or Kevin Drumm, but with a depth and dynamism that betrays its studied and patiently wrought creation, and 'Killing The Water Bed' is perhaps closest to what we'd expected from the album: smacked-out, dub-inflected free jazz, Capece's bass clarinet billowing through Delay's ride and cymbal crashes. The near-ambient 'Presentiment' cleanses the palette for the face-melting 'Louhos' - it's the sound of the Quartet collective freaking-out, Vainio and Ripatti serving up ear-smacking techno rhythm and layer upon layer of electronic scree, while that looped sax lacerates all that lies before it. Seriously intense and provocative stuff, this; an essential purchase for adventurous ears and minds.
Boomkat Product Review:
He's served tirelessly in the Moritz Von Oswald Trio, but now Sasu Ripatti takes centre-stage with his own improv ensemble, The Vladislav Delay Quartet. He's joined by Lucio Capece on clarinet and sax, Derek Shirley on double bass and - most interestingly, and most audibly - Mika Vainio on electronics. The Pan Sonic man's sonic signature makes itself felt from the off, opening cut 'Minus Degrees, Bare Feet, Tickles' driven by roaring industrial noise as only he can style it. Things get really interesting with 'Santa Teresa', Shirley's bass plucks conspiring with Delay's pots 'n pans to create an almost dubstep skank. Across this lurching groove, Capece uncurls scything sheets of sax drone and Vainio squirts the kind of trebly sine tones that will be blissfully familiar to fans of his Ø recordings. Unlike the more pensive MVO Trio, the Vladislav Delay Quartet explore darker, harsher terrain, as heard especially on 'Des Abends' which crashes and groans and growls like a drunk Godzilla trying to find his missing spanner. 'Hotokivi' is a power electronics assault in the vein of Prurient or Kevin Drumm, but with a depth and dynamism that betrays its studied and patiently wrought creation, and 'Killing The Water Bed' is perhaps closest to what we'd expected from the album: smacked-out, dub-inflected free jazz, Capece's bass clarinet billowing through Delay's ride and cymbal crashes. The near-ambient 'Presentiment' cleanses the palette for the face-melting 'Louhos' - it's the sound of the Quartet collective freaking-out, Vainio and Ripatti serving up ear-smacking techno rhythm and layer upon layer of electronic scree, while that looped sax lacerates all that lies before it. Seriously intense and provocative stuff, this; an essential purchase for adventurous ears and minds.
Out of Stock
Boomkat Product Review:
He's served tirelessly in the Moritz Von Oswald Trio, but now Sasu Ripatti takes centre-stage with his own improv ensemble, The Vladislav Delay Quartet. He's joined by Lucio Capece on clarinet and sax, Derek Shirley on double bass and - most interestingly, and most audibly - Mika Vainio on electronics. The Pan Sonic man's sonic signature makes itself felt from the off, opening cut 'Minus Degrees, Bare Feet, Tickles' driven by roaring industrial noise as only he can style it. Things get really interesting with 'Santa Teresa', Shirley's bass plucks conspiring with Delay's pots 'n pans to create an almost dubstep skank. Across this lurching groove, Capece uncurls scything sheets of sax drone and Vainio squirts the kind of trebly sine tones that will be blissfully familiar to fans of his Ø recordings. Unlike the more pensive MVO Trio, the Vladislav Delay Quartet explore darker, harsher terrain, as heard especially on 'Des Abends' which crashes and groans and growls like a drunk Godzilla trying to find his missing spanner. 'Hotokivi' is a power electronics assault in the vein of Prurient or Kevin Drumm, but with a depth and dynamism that betrays its studied and patiently wrought creation, and 'Killing The Water Bed' is perhaps closest to what we'd expected from the album: smacked-out, dub-inflected free jazz, Capece's bass clarinet billowing through Delay's ride and cymbal crashes. The near-ambient 'Presentiment' cleanses the palette for the face-melting 'Louhos' - it's the sound of the Quartet collective freaking-out, Vainio and Ripatti serving up ear-smacking techno rhythm and layer upon layer of electronic scree, while that looped sax lacerates all that lies before it. Seriously intense and provocative stuff, this; an essential purchase for adventurous ears and minds.
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Boomkat Product Review:
He's served tirelessly in the Moritz Von Oswald Trio, but now Sasu Ripatti takes centre-stage with his own improv ensemble, The Vladislav Delay Quartet. He's joined by Lucio Capece on clarinet and sax, Derek Shirley on double bass and - most interestingly, and most audibly - Mika Vainio on electronics. The Pan Sonic man's sonic signature makes itself felt from the off, opening cut 'Minus Degrees, Bare Feet, Tickles' driven by roaring industrial noise as only he can style it. Things get really interesting with 'Santa Teresa', Shirley's bass plucks conspiring with Delay's pots 'n pans to create an almost dubstep skank. Across this lurching groove, Capece uncurls scything sheets of sax drone and Vainio squirts the kind of trebly sine tones that will be blissfully familiar to fans of his Ø recordings. Unlike the more pensive MVO Trio, the Vladislav Delay Quartet explore darker, harsher terrain, as heard especially on 'Des Abends' which crashes and groans and growls like a drunk Godzilla trying to find his missing spanner. 'Hotokivi' is a power electronics assault in the vein of Prurient or Kevin Drumm, but with a depth and dynamism that betrays its studied and patiently wrought creation, and 'Killing The Water Bed' is perhaps closest to what we'd expected from the album: smacked-out, dub-inflected free jazz, Capece's bass clarinet billowing through Delay's ride and cymbal crashes. The near-ambient 'Presentiment' cleanses the palette for the face-melting 'Louhos' - it's the sound of the Quartet collective freaking-out, Vainio and Ripatti serving up ear-smacking techno rhythm and layer upon layer of electronic scree, while that looped sax lacerates all that lies before it. Seriously intense and provocative stuff, this; an essential purchase for adventurous ears and minds.
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