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[experimental, electronic, krautrock] Oren Ambarchi - 2016 - Hubris (FLAC, Editions Mego 227)

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Torrent File Content (7 files)

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Music : Other : Lossless
      

Editions Mego mego 227.

1	Hubris (Part 1)	21:47
2	Hubris (Part 2)	1:53
3	Hubris (Part
3)	16:34

Oren Ambarchi: guitars guitars guitars, voice
Jim O'Rourke: six-string bass (2),
synth / guitar synth (1)
Mark Fell: computer (1)
Will Guthrie: drums (3)
Joe Talia:
drums, bass (3)
Ricardo Villalobos: rhythms, electronics (3)
Arto Lindsay: guitar (3)
Konrad Spenger: motor guitars (1)
Keith Fullerton Whitman: synth (3)
Crys Cole: voice
(2,3)

Recorded April 2015 - February 2016 in Rotherham (at The Upper Lounge, Chatham Street, engineered by
Mark Fell), Berlin (Choose Studio by Jörg Hiller & Villalobos Studio by Ricardo Villalobos), Tokyo (Steamroom by
Jim O'Rourke), Brooklyn, NY (Strange Weather Studio by Daniel Schlett), Melbourne (Chinatown by Joe Talia & at
Jerker House [misspelled as "Jorker House"] by Oren Ambarchi), Nantes (at MY Studio by Yann Jaffiol)

With shark-eyed vision and momentum, Oren Ambarchi pursues the technoid krautrock themes of his last few studio albums
into the elliptical, tumultuous structures of Hubris, along with that notable list of collaborators. It sounds something
like Silver Apples of the Moon played by Can. 
“Hubris continues the exploration of relentless, driving
rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to
Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely
inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack
to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi
weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede,
eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad
Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering
minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in
its final section.
After a short second part, in which Ambarchi, O’Rourke and Crys Cole pay tribute to the
skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the
long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from
Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are
transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden
Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular
events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk
guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out guitar harmonics take center stage as the piece
builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one
record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that
emerge directly out of his previous work while also pushing ahead into new dimensions. Francis Plagne” -
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