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JOSHUA ABRAMS, "BUSRIDE INTERVIEW"
Joshua Abrams is a double bassist who lives in Chicago and is probablybest known as a member of Town and Country. These solo recordings arereleased as part of Lucky Kitchen's Sparkling Composers series in anice brown card envelope with silver patterns printed on it.
Presumably the album title came from the snippet of dialogue that opensthe first track "Trip North." This soon gives way to subtle fluctuatingelectric drones, which sound like processed string bowing, accented byirregular pinging chimes. "After Fire" cuts abruptly in with thequenching flow of running water. It doesn't stick around long as theriver flows ever onward, and "Departure (Cellar)" is a much longermelancholic meditation on solo bowed contrabass. Although this startsoff sparse and forlorn it picks up atonal clattering creaking momentumwhich dissipates then builds up scattershot intensity as if mice arerunning all over the bass strings until a finale of long low boweddrones builds an altogether heavier intensity which finally peters outto a fine point. "Plums" rest on a loop both percussive and droning,over which arch higher string rattlings. Cut to high to mid rangeelectronic squeal and slowly emerging cocoon like eerie insectambience. Finally the insects taste fermenting sugar and roll drunk infiddling ecstacy. "Lo Speed Chase" ups the anthill with some overtlyrhythmic whimsical wiggling that constantly threatens to up end itselfand although it seems to dance as if its laces are tied it managesnever to trip. "Everything Can Be Good Sometimes" brings back therunning water tapes for another spin as a backdrop for stuttering offcentre piano chops, weaving in and out like Steve Reich losing theplot, before they converge and a gorgeous bowed melody like a lo-fiTortoise caught snoozing erupts quite unexpectedly. Latterly the pianoruns haywire again and this feeling of chaos just about to break outbut held in check recurrs. "Attic" seems to be a companion to "Cellar"and is aptly titled as it builds more soaring, towering structures fromsimilarly thick squeaky bowings, rising to plink plunk crescendo. Thefinal short track "Crossing Kingston Bridge" seems to be a fieldrecording of tuneful whistling over echoing footsteps. This is a greatdisc to have on low as dawn breaks, and seems to paint an idiosyncraticengaging picture of a journey. Sound samples can be downloaded from theLucky Kitchen. -
Presumably the album title came from the snippet of dialogue that opensthe first track "Trip North." This soon gives way to subtle fluctuatingelectric drones, which sound like processed string bowing, accented byirregular pinging chimes. "After Fire" cuts abruptly in with thequenching flow of running water. It doesn't stick around long as theriver flows ever onward, and "Departure (Cellar)" is a much longermelancholic meditation on solo bowed contrabass. Although this startsoff sparse and forlorn it picks up atonal clattering creaking momentumwhich dissipates then builds up scattershot intensity as if mice arerunning all over the bass strings until a finale of long low boweddrones builds an altogether heavier intensity which finally peters outto a fine point. "Plums" rest on a loop both percussive and droning,over which arch higher string rattlings. Cut to high to mid rangeelectronic squeal and slowly emerging cocoon like eerie insectambience. Finally the insects taste fermenting sugar and roll drunk infiddling ecstacy. "Lo Speed Chase" ups the anthill with some overtlyrhythmic whimsical wiggling that constantly threatens to up end itselfand although it seems to dance as if its laces are tied it managesnever to trip. "Everything Can Be Good Sometimes" brings back therunning water tapes for another spin as a backdrop for stuttering offcentre piano chops, weaving in and out like Steve Reich losing theplot, before they converge and a gorgeous bowed melody like a lo-fiTortoise caught snoozing erupts quite unexpectedly. Latterly the pianoruns haywire again and this feeling of chaos just about to break outbut held in check recurrs. "Attic" seems to be a companion to "Cellar"and is aptly titled as it builds more soaring, towering structures fromsimilarly thick squeaky bowings, rising to plink plunk crescendo. Thefinal short track "Crossing Kingston Bridge" seems to be a fieldrecording of tuneful whistling over echoing footsteps. This is a greatdisc to have on low as dawn breaks, and seems to paint an idiosyncraticengaging picture of a journey. Sound samples can be downloaded from theLucky Kitchen. -
