When It Rains It Pours
Farida Amadou
When It Rains It Pours
Boomkat Product Review:
Genius album of solo-bass explorations from a scene veteran who refuses to rest on her laurels, mining minimalist angularisms and rippling rhythms that challenge our preconceptions of jazz, noise and rock. If you’re into anything from Slint to Steve Reich, Shellac to Christian Marclay, or those quiet bits before the storm on the best Sonic Youth - this is the shit.
A self-taught musician, Amadou approaches the bass with an endearing level of humility. She's a veteran at this point, having played in Liège noise-punk band Cocaine Piss, improv collective OKGB and worked alongside greats such as British percussionist Steve Noble, Sonic Youth's Thurston Moore and free jazz legend Peter Brötzmann, and she manages to avoid the usual aesthetic pitfalls. Not attempting to slip into the expected improv mode or master the kind of speedy fretwork you'd expect to hear on most solo bass record, Amadou instead zones in on the latent power of the instrument: its timekeeping, rhythm and low, luxurious tone. On opening track 'Listen To', she makes us wait for a few minutes until a familiar twang cuts through rhythmic static pops and harsh tearing sounds, and when the bass sounds do emerge, they're surprisingly ordered, almost mechanical, as they slip into a lightly phased pattern alongside the noisy bursts. Amadou eases us into her world, bringing the instrument’s distinct accent into focus, then using precise processes to highlight and disrupt our expectations.
Tapping and scraping her guitar until a warm, melodic hum appears from the near silence, Amadou takes a different approach on 'The End Of', layering slow phrases over each other to create an interlocked wall of bass that blurs as it evolves. Amadou shifts the rhythm first, keeping the tones locked but swinging the notes into peculiar, spidery patterns, then uses distortion to grind the raw material into concrete. And on 'The Virtuous Circle', a 17-minute multi act epic, she trains her ear on rhythm once more, pulling the strings until they make hollow, resonant snaps that vibrate through the instrument. In time, Amadou extends the tail, reverberating the bass until it ripples beneath the pulses and eventually swallows everything in the spectrum. It's overwhelmingly physical music that highlights Amadou's understanding of not just experimental jazz and noise, but metal, post-rock, punk and drone.
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Boomkat Product Review:
Genius album of solo-bass explorations from a scene veteran who refuses to rest on her laurels, mining minimalist angularisms and rippling rhythms that challenge our preconceptions of jazz, noise and rock. If you’re into anything from Slint to Steve Reich, Shellac to Christian Marclay, or those quiet bits before the storm on the best Sonic Youth - this is the shit.
A self-taught musician, Amadou approaches the bass with an endearing level of humility. She's a veteran at this point, having played in Liège noise-punk band Cocaine Piss, improv collective OKGB and worked alongside greats such as British percussionist Steve Noble, Sonic Youth's Thurston Moore and free jazz legend Peter Brötzmann, and she manages to avoid the usual aesthetic pitfalls. Not attempting to slip into the expected improv mode or master the kind of speedy fretwork you'd expect to hear on most solo bass record, Amadou instead zones in on the latent power of the instrument: its timekeeping, rhythm and low, luxurious tone. On opening track 'Listen To', she makes us wait for a few minutes until a familiar twang cuts through rhythmic static pops and harsh tearing sounds, and when the bass sounds do emerge, they're surprisingly ordered, almost mechanical, as they slip into a lightly phased pattern alongside the noisy bursts. Amadou eases us into her world, bringing the instrument’s distinct accent into focus, then using precise processes to highlight and disrupt our expectations.
Tapping and scraping her guitar until a warm, melodic hum appears from the near silence, Amadou takes a different approach on 'The End Of', layering slow phrases over each other to create an interlocked wall of bass that blurs as it evolves. Amadou shifts the rhythm first, keeping the tones locked but swinging the notes into peculiar, spidery patterns, then uses distortion to grind the raw material into concrete. And on 'The Virtuous Circle', a 17-minute multi act epic, she trains her ear on rhythm once more, pulling the strings until they make hollow, resonant snaps that vibrate through the instrument. In time, Amadou extends the tail, reverberating the bass until it ripples beneath the pulses and eventually swallows everything in the spectrum. It's overwhelmingly physical music that highlights Amadou's understanding of not just experimental jazz and noise, but metal, post-rock, punk and drone.
Boomkat Product Review:
Genius album of solo-bass explorations from a scene veteran who refuses to rest on her laurels, mining minimalist angularisms and rippling rhythms that challenge our preconceptions of jazz, noise and rock. If you’re into anything from Slint to Steve Reich, Shellac to Christian Marclay, or those quiet bits before the storm on the best Sonic Youth - this is the shit.
A self-taught musician, Amadou approaches the bass with an endearing level of humility. She's a veteran at this point, having played in Liège noise-punk band Cocaine Piss, improv collective OKGB and worked alongside greats such as British percussionist Steve Noble, Sonic Youth's Thurston Moore and free jazz legend Peter Brötzmann, and she manages to avoid the usual aesthetic pitfalls. Not attempting to slip into the expected improv mode or master the kind of speedy fretwork you'd expect to hear on most solo bass record, Amadou instead zones in on the latent power of the instrument: its timekeeping, rhythm and low, luxurious tone. On opening track 'Listen To', she makes us wait for a few minutes until a familiar twang cuts through rhythmic static pops and harsh tearing sounds, and when the bass sounds do emerge, they're surprisingly ordered, almost mechanical, as they slip into a lightly phased pattern alongside the noisy bursts. Amadou eases us into her world, bringing the instrument’s distinct accent into focus, then using precise processes to highlight and disrupt our expectations.
Tapping and scraping her guitar until a warm, melodic hum appears from the near silence, Amadou takes a different approach on 'The End Of', layering slow phrases over each other to create an interlocked wall of bass that blurs as it evolves. Amadou shifts the rhythm first, keeping the tones locked but swinging the notes into peculiar, spidery patterns, then uses distortion to grind the raw material into concrete. And on 'The Virtuous Circle', a 17-minute multi act epic, she trains her ear on rhythm once more, pulling the strings until they make hollow, resonant snaps that vibrate through the instrument. In time, Amadou extends the tail, reverberating the bass until it ripples beneath the pulses and eventually swallows everything in the spectrum. It's overwhelmingly physical music that highlights Amadou's understanding of not just experimental jazz and noise, but metal, post-rock, punk and drone.
Boomkat Product Review:
Genius album of solo-bass explorations from a scene veteran who refuses to rest on her laurels, mining minimalist angularisms and rippling rhythms that challenge our preconceptions of jazz, noise and rock. If you’re into anything from Slint to Steve Reich, Shellac to Christian Marclay, or those quiet bits before the storm on the best Sonic Youth - this is the shit.
A self-taught musician, Amadou approaches the bass with an endearing level of humility. She's a veteran at this point, having played in Liège noise-punk band Cocaine Piss, improv collective OKGB and worked alongside greats such as British percussionist Steve Noble, Sonic Youth's Thurston Moore and free jazz legend Peter Brötzmann, and she manages to avoid the usual aesthetic pitfalls. Not attempting to slip into the expected improv mode or master the kind of speedy fretwork you'd expect to hear on most solo bass record, Amadou instead zones in on the latent power of the instrument: its timekeeping, rhythm and low, luxurious tone. On opening track 'Listen To', she makes us wait for a few minutes until a familiar twang cuts through rhythmic static pops and harsh tearing sounds, and when the bass sounds do emerge, they're surprisingly ordered, almost mechanical, as they slip into a lightly phased pattern alongside the noisy bursts. Amadou eases us into her world, bringing the instrument’s distinct accent into focus, then using precise processes to highlight and disrupt our expectations.
Tapping and scraping her guitar until a warm, melodic hum appears from the near silence, Amadou takes a different approach on 'The End Of', layering slow phrases over each other to create an interlocked wall of bass that blurs as it evolves. Amadou shifts the rhythm first, keeping the tones locked but swinging the notes into peculiar, spidery patterns, then uses distortion to grind the raw material into concrete. And on 'The Virtuous Circle', a 17-minute multi act epic, she trains her ear on rhythm once more, pulling the strings until they make hollow, resonant snaps that vibrate through the instrument. In time, Amadou extends the tail, reverberating the bass until it ripples beneath the pulses and eventually swallows everything in the spectrum. It's overwhelmingly physical music that highlights Amadou's understanding of not just experimental jazz and noise, but metal, post-rock, punk and drone.
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Boomkat Product Review:
Genius album of solo-bass explorations from a scene veteran who refuses to rest on her laurels, mining minimalist angularisms and rippling rhythms that challenge our preconceptions of jazz, noise and rock. If you’re into anything from Slint to Steve Reich, Shellac to Christian Marclay, or those quiet bits before the storm on the best Sonic Youth - this is the shit.
A self-taught musician, Amadou approaches the bass with an endearing level of humility. She's a veteran at this point, having played in Liège noise-punk band Cocaine Piss, improv collective OKGB and worked alongside greats such as British percussionist Steve Noble, Sonic Youth's Thurston Moore and free jazz legend Peter Brötzmann, and she manages to avoid the usual aesthetic pitfalls. Not attempting to slip into the expected improv mode or master the kind of speedy fretwork you'd expect to hear on most solo bass record, Amadou instead zones in on the latent power of the instrument: its timekeeping, rhythm and low, luxurious tone. On opening track 'Listen To', she makes us wait for a few minutes until a familiar twang cuts through rhythmic static pops and harsh tearing sounds, and when the bass sounds do emerge, they're surprisingly ordered, almost mechanical, as they slip into a lightly phased pattern alongside the noisy bursts. Amadou eases us into her world, bringing the instrument’s distinct accent into focus, then using precise processes to highlight and disrupt our expectations.
Tapping and scraping her guitar until a warm, melodic hum appears from the near silence, Amadou takes a different approach on 'The End Of', layering slow phrases over each other to create an interlocked wall of bass that blurs as it evolves. Amadou shifts the rhythm first, keeping the tones locked but swinging the notes into peculiar, spidery patterns, then uses distortion to grind the raw material into concrete. And on 'The Virtuous Circle', a 17-minute multi act epic, she trains her ear on rhythm once more, pulling the strings until they make hollow, resonant snaps that vibrate through the instrument. In time, Amadou extends the tail, reverberating the bass until it ripples beneath the pulses and eventually swallows everything in the spectrum. It's overwhelmingly physical music that highlights Amadou's understanding of not just experimental jazz and noise, but metal, post-rock, punk and drone.
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