Aazhyd and/or Chyekk China Doll (Edward Ka-Spel)


Matt Van Dyke mvandyke@whidbey.net (Chyekk)

After listening to chyekk china doll, i realized that edward ka-spel
expresses himself through keyboards in a way that eno or anyone else
ever could - not that keyboards are the only medium used - chyekk
china doll remains a beautifully weird album - ka-spel takes a much
more experimental angle to music than he does with the legendary
pink dots - although there are not as many sound collages on chyekk
as there are on aaAzhyd china doll, there are more waltzes, and
waltzes are were its at, i believe! no, really, have you ever heard a
keyboard waltz with strange strings and effects in the background with
the voice of an insane european man with a lisp hovering over the top?
well, if you haven't i probably wouldn't suggest chyekk china doll as
the first album to pick up - i have to confess that i can't stand early
pink dots stuff because of all the keyboards, but in chyekk ka-spel uses
them as no other could, which makes for an interesting listen - and
although there are fewer sound collages than aaAzhyd china doll, the
few that appear are quite well done, especially for 1985 - oh, and the
addition of the vocals from "lady sunshine" give it a nice break from
ka-spel's voice which can find rather upsetting sometimes - so, yeah, if
you like weird, and you like the pink dots, you will probably like this
album as well

Matt Van Dyke mvandyke@whidbey.net (Aazhyd)

Another album in the china doll series, aaAzhyd china doll, is an
album that tends to evoke an emotional response even after several
listens - fellow dots member, "the silver man" joins mr. ka-spel in what
turns out to be a rather weird and negative album - the title track
(which also happens to be the opening track) sets the mood with a
repetative beat, insane keyboard noises, whispers, and edward saying
"get those fucking horsemen..." something something something, i
don't know - several lengthy sound collages make up the majority of
this album and it lacks the waltzes of chyekk china doll - i would have
to say that even with its negative side, this album is a better one the
chyekk china doll - perhaps it is because it is two years later and it
seems that edward ka-spel is trying to get as weird as he possibly can
without crossing over into the experimental - the negative angle of this
album could be a precursor to songs like 'city of needles' on shadow
weaver - 'blowing bubbles (part III)' is surprisingly similar to mauve
sideshow in the female vocals that overlay the intro - but the rest of the
song features ka-spel chanting with weird effects on his voice - yeah, i
would have to say again that if you like weird, and you like the dots,
you will probably find edward ka-spel's china doll series (at least
chyekk and aaAzhyd) enjoyable, but if you have never heard the dots
before, i wouldn't start with this album - thank you, that will be all

_-*-noiSe frOm tHe spleeNs Of spaCe_-*-

http://www.netaxs.com/~grievous/spleen.html

Ed's china dolls conjure an image of children's toys which are
delicate, easily broken, and possibly enchanted by some demented
musician-magician. The music on this 2-CD re-release has this same
kind of eerie carnival atmosphere, using mostly synthetic
instruments to create a simultaneously dreamlike and sinister
ambience. Songs like "The Infinity Waltz" combine an innocuous and
familiar rhythm with Ed's unique voice supplying surreal
narration...it gives the impression of mad china dolls trapped in
an eternal dance. Ed happily sings about "slaves" and "corpses" in
an upbeat tempo with his usual elfin charm. Ka-Spel's usual cast
of characters makes their appearances on these albums, particularly
"Lisa" who is christened and resurrected in two tracks. Fans of
the LPD album "Asylum" would definitely like the music on these
albums, which were released originally around the same time as that
album (86-87). Anyone who likes the synth sound from Walter
Carlos' "Clockwork Orange" is also pointed to "Chyekk", which
captures that sound and might bring a string of associations with
it. "Aazhyd" is less of a demonic carnival, less synthesized and
returning to the Pink Dots' "Lovers" for material particularly on
the song "Flesh Parade". Disc two has more of a desolate feel,
ranging from underwater whisperings to almost industrial wailing
sprees. Apocalyptic nursery rhymes and psychedlic soup in this
long-awaited re-release from the chinadoll man. [sarada]

Rex (richwill@xsite.net)

Ka-Spel's next two solo albums, 1986's Chyekk and 1987's Aaazhyd, were
released together in a double pack by Dutch Soleilmoon-equivalent Staalplaat
in 1995. The artwork for the package is beautiful but when carefully
considered, the two albums are thematically different enough to merit
individual release. Chyekk is somewhat lightweight, containing a number of
brief instrumental interludes and synth-orchestrated waltzes ("The Infinity
Waltz," "Lisa's Christening"), but overall the album is stripped-down and
crystal clear. Slight keyboard melodies like "The Forbidden Zone" and
"Lines" are examples of Ka-Spel's best work. Appending a shapeless sound
collage like "Colour Me Vexed, Desiree," which was also written many years
after the bulk of the album, was a good intention gone horribly wrong as it
interrupts the proceedings. Aaazhyd is much denser and darker; whether
intended to praise or damn certain psychoactive hallucinogenic drugs, it is
easy to see how the album could be the musical equivalent of a bad trip.
While arpeggioed pieces like "Flesh Parade" (also on the LPD's Prayer For
Aradia) or simple melodies like "Nuts In May" maintain the minimalism
carried over from Chyekk, the stark creepiness of the title track and "The
Fool" tend to undo any possible feelings of pleasantness while listening. A
lengthy epilogue was tacked onto this album as well, but "The Witchfinder
Suite (Parts I-VI)" at least fits the mood of the album it complements.