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CD
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GB 154CD
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According to Avalanche Kaito drummer Benjamin Chaval, their music comes from "a sound, a sample, a desire, a feeling, or simply a lack of something." And their second album, Talitakum, is the result of a process, where "the whole" is, indeed, "expressed in every part," whatever the provenance. To begin with, the band gigged as much as they could in 2021, the guitarist Nicco Gitto having replaced bassist Arnaud Paquotte, their fiery, mercurial shows becoming "a laboratory" in their own right. 2023 brought two creative residencies; where eight new pieces were sketched out. In July of that year the "aural puzzle" was recorded by Vincent Poujol at the Gam studio in the Belgian Ardennes. In contrast to what went before, there were no plans to rely on live recording, and overdubs were used extensively. Even so, the tracks were still very fresh, sometimes even non-existent: the track "Tanvusse" began in the studio as a sample first heard in Niger. Other tracks like "Lago" were brought to rehearsal as thoughtforms in the singer Kaito Winse's head. Later, Benjamin Chaval assembled, arranged and further produced a body of work "that had to be tamed and reinvented" in concert. First impressions are driven by the different fusions thrown up between polyrhythms and polyphony: a notion of the constant reassembling of various musical building blocks. The opener "Borgo" has a dissonant tone to it. Two minutes in and it's by no means certain who will win out in this musical tug of war between voice, beat and instruments. All elements seem to burn themselves out eventually, living off the warmth of the energy created by their fight in a long meditative tail out. The tracks on the album are informed by Kaito Winse's voice and his use of a traditional flute and mouth bow. All three elements work, sometimes in tandem, as wider ciphers for communication, or "emotive" forms of mystification that inspire and unsettle. Throughout, Winse demonstrates what untapped powers listeners command, bodily; if only they knew how to use them. Alongside Winse, Nico Gitto (guitar) and Benjamin Chaval (drums, synths and electronics) work like mechanics, adding and updating elements to suit.
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LP
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GB 154LP
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LP version. According to Avalanche Kaito drummer Benjamin Chaval, their music comes from "a sound, a sample, a desire, a feeling, or simply a lack of something." And their second album, Talitakum, is the result of a process, where "the whole" is, indeed, "expressed in every part," whatever the provenance. To begin with, the band gigged as much as they could in 2021, the guitarist Nicco Gitto having replaced bassist Arnaud Paquotte, their fiery, mercurial shows becoming "a laboratory" in their own right. 2023 brought two creative residencies; where eight new pieces were sketched out. In July of that year the "aural puzzle" was recorded by Vincent Poujol at the Gam studio in the Belgian Ardennes. In contrast to what went before, there were no plans to rely on live recording, and overdubs were used extensively. Even so, the tracks were still very fresh, sometimes even non-existent: the track "Tanvusse" began in the studio as a sample first heard in Niger. Other tracks like "Lago" were brought to rehearsal as thoughtforms in the singer Kaito Winse's head. Later, Benjamin Chaval assembled, arranged and further produced a body of work "that had to be tamed and reinvented" in concert. First impressions are driven by the different fusions thrown up between polyrhythms and polyphony: a notion of the constant reassembling of various musical building blocks. The opener "Borgo" has a dissonant tone to it. Two minutes in and it's by no means certain who will win out in this musical tug of war between voice, beat and instruments. All elements seem to burn themselves out eventually, living off the warmth of the energy created by their fight in a long meditative tail out. The tracks on the album are informed by Kaito Winse's voice and his use of a traditional flute and mouth bow. All three elements work, sometimes in tandem, as wider ciphers for communication, or "emotive" forms of mystification that inspire and unsettle. Throughout, Winse demonstrates what untapped powers listeners command, bodily; if only they knew how to use them. Alongside Winse, Nico Gitto (guitar) and Benjamin Chaval (drums, synths and electronics) work like mechanics, adding and updating elements to suit.
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CD
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GB 125CD
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A mysterious matrix that echoes disparate (but strangely compatible) sonic strands: deep griot traditions, Fugazi, Can, '70s era Zappa, Black Midi, the full throttle rush of Nyege Nyege Tapes. Emerging from an original dimension in sound, the polygenesis Avalanche Kaito redefine what it is to talk with the ancients whilst leaping forth into a futuristic chaos of noise on their debut album journey. A palpable experience with each sonic blast, each layer a revelation, this simultaneously taut but expansive universe, in which the oral traditions of the West African griot converge with Belgium post-punk, exists in its own space. Urban griot and multi-instrumentalist Kaito Winse (vocals, tama, peul flutes, mouth bow) fortuitously collided with Brussels noise punk musicians Benjamin Chaval (drums, electronics) and Arnaud Paquotte (bass) from the group Le Jour du Seigneur, after a friend of theirs in Burkina Faso played Kaito some of the duo's pummeling music. Through a twisting sequence of events, the trio eventually met and began developing the sound world of ancestral proverbs and dataist inspired technology that defines the album. Although the album is being released six months after the debut Dabalomuni EP showcase, the guitarist from that extraordinary otherworldly session, Nico Gitto is now part of the transformed setup; not so much replacing Paquotte as expanding the sound into another direction. With the help of the visual language program PureData (an open-source apparatus for creating interactive computer music and multimedia works) and his pummeling, rattled drumming, Benjamin and his sinewy bassist foil Arnaud create an effective torque and tumult for Kaito's commune with his roots and life in a very different bush of ghosts. Within that space, you'll not only hear super charged traces of post-punk but the tribal, free jazz, prog, and industrial-electronica as well. Kaito's griot ancestry and the band's motivation is a spontaneous escape from the addiction of the online world, a reconnection with the ritual of a live performance. Although created in a studio setting that live in the moment feeling and dynamism is authentically recreated on this album. The practice of improvising in the studio with meticulously arranged pieces blows up and out into the inter-dimensional slackened bass stalk of "Sunguru", and the wilder hysterics and danger of the progressive deconstruction "Douaga". In that postpunk mode, a Jah Wobble-like throbbed esoteric bass converges with more celestial manifestations on "Goomde", whilst "Eya" features a certain Scott Walker atmospheric gloom and earthy soul tumbling drums. At any one-time this trio are snarling yet hypnotic, willowy but thickened with a brooding menace.
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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GB 125LP
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LP version. A mysterious matrix that echoes disparate (but strangely compatible) sonic strands: deep griot traditions, Fugazi, Can, '70s era Zappa, Black Midi, the full throttle rush of Nyege Nyege Tapes. Emerging from an original dimension in sound, the polygenesis Avalanche Kaito redefine what it is to talk with the ancients whilst leaping forth into a futuristic chaos of noise on their debut album journey. A palpable experience with each sonic blast, each layer a revelation, this simultaneously taut but expansive universe, in which the oral traditions of the West African griot converge with Belgium post-punk, exists in its own space. Urban griot and multi-instrumentalist Kaito Winse (vocals, tama, peul flutes, mouth bow) fortuitously collided with Brussels noise punk musicians Benjamin Chaval (drums, electronics) and Arnaud Paquotte (bass) from the group Le Jour du Seigneur, after a friend of theirs in Burkina Faso played Kaito some of the duo's pummeling music. Through a twisting sequence of events, the trio eventually met and began developing the sound world of ancestral proverbs and dataist inspired technology that defines the album. Although the album is being released six months after the debut Dabalomuni EP showcase, the guitarist from that extraordinary otherworldly session, Nico Gitto is now part of the transformed setup; not so much replacing Paquotte as expanding the sound into another direction. With the help of the visual language program PureData (an open-source apparatus for creating interactive computer music and multimedia works) and his pummeling, rattled drumming, Benjamin and his sinewy bassist foil Arnaud create an effective torque and tumult for Kaito's commune with his roots and life in a very different bush of ghosts. Within that space, you'll not only hear super charged traces of post-punk but the tribal, free jazz, prog, and industrial-electronica as well. Kaito's griot ancestry and the band's motivation is a spontaneous escape from the addiction of the online world, a reconnection with the ritual of a live performance. Although created in a studio setting that live in the moment feeling and dynamism is authentically recreated on this album. The practice of improvising in the studio with meticulously arranged pieces blows up and out into the inter-dimensional slackened bass stalk of "Sunguru", and the wilder hysterics and danger of the progressive deconstruction "Douaga". In that postpunk mode, a Jah Wobble-like throbbed esoteric bass converges with more celestial manifestations on "Goomde", whilst "Eya" features a certain Scott Walker atmospheric gloom and earthy soul tumbling drums. At any one-time this trio are snarling yet hypnotic, willowy but thickened with a brooding menace.
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