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| Glasgow Sunday [ ÉLŐ ] |
| Jandek |
első megjelenés éve: 2004
60 perc |
| Rock |
| (2007)
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DVD video |
| 4.168 Ft
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| 1. | Not Even Water
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| 2. | Where I Stay
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| 3. | Darkness You Give
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| 4. | Sea of Red
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| 5. | Real Wild
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| 6. | Don't Want to Be
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| 7. | Blue Blue World
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| 8. | The Other Side
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Jandek played his first ever live set at the Instal festival in Glasgow, Scotland on October 17, 2004. He sang and played guitar, joined by Richard Youngs on bass and Alexander Neilson on drums. The performance was not publicized beforehand or even identified as it happened. Many of the people in the room didn' t know until later what they had witnessed. You can choose to watch Camera 1, Camera 2, or a 2 camera mix edit.
Cover
Another snapshot of a street with a church at the end (see also I Threw You Away). Judging from the cars, the photo was probably taken in the 1980's. The car in the foreground looks American, but I can't conclusively place the street on a particular side of the Atlantic. Anyone recognize the church?
Review excerpts
* Scott Mou, Other Music web site (http://www.othermusic.com/), 2005. "Blood curdling live set... Jandek displays surprising force and confidence, seemingly hammering away at the guitar with a closed fist while accompanied by Richard Youngs on bass and local kindred spirit, Alex Neilson, masterfully stuttering alongside Jandek on the drums. Unlike the bootleg floating around the Internet, the drums and vocals mesh together well in the forefront, while the bass drone/throb and rattled cage guitar fall back... Enthusiastic applause also included."
* uncredited, Aquarius Records catalog (website), 2005. "No matter what your opinion is of Jandek's decision to make a public appearance, this recording is fantastic. Youngs and Neilson keep their input strictly as a rhythm section, never to upstage Jandek himself. Throughout the entire set, Youngs keeps his bass within a controlled variation of an elliptical throb and Neilson does the quiet tumble down the stairs thing on the drum kit. But it's Jandek who really shines. His strangulated blues chords have the same jangling atonality of his earliest records... and his deepened baritone voice snakes through his signature revelatory darkness... If Jandek's going to come out of his shell to make records this good, who are we to complain!?"
* David Keenan, Volcanic Tongue catalog (link), 2005. "...the first public appearance of his 26 year recording career, simultaneously quashing three decades worth of speculation while inspiring a whole bunch more. But the main thing that makes Glasgow Sunday such an important document has less to do with how it relates to Smith's personal mythos and more to do with how it inaugurates a group that already looks to be one of the most formally inventive units of the modern age. Between them, the trio... have birthed a free music with an internal dynamic and shared musical language as singular and historically unparalleled as late-20th century behemoths like Albert Ayler's Spiritual Unity trio, Keiji Haino's Fushitsusha, Harry Pussy, and Musica Transonic. Crucially, Glasgow Sunday is a group record... The first time they ever played together was actually earlier on the same day of the concert... [but] the terms of their musical relationship were sealed the instant they began to play. Smith's current guitar form is most immediately related to the series of recordings he made between 1982 and 1987... [that] were characterised by bouts of ferocious atonal guitar. But here he digs deeper and harder into the magic confluence of overtones encouraged by the more esoteric open tunings. His chords sound like they're augmented with barbed wire and his soloing &mdashl of which there's plenty - is somewhere between Keiji Haino's dense, clean guitar work on Fushitsusha's John Zorn-produced album Allegorical Misunderstanding, and Harry Pussy guitarist Bill Orcutt circa 'Nazi USA'. Youngs plays electric bass with a tremolo pulse that sounds a bit like Holger Czukay and the way he pilots odd, beautiful notes straight to the heart of the individual tracks is particularly fearless. Drummer Alex Neilson is the real wildcard. In recent years he has become the most in-demand improvising drummer in Scotland and his playing here is particularly key in terms of defining the basic heft of the sound. Beyond even the bizarre physical resemblance - several people on the night asked if it was Jandek's son that was playing the drums - there's obviously a deep level of rapport between the two and during the instrumental breaks Smith seems to be soloing more in relation to Neilson’s tonal and rhythmic suggestions than Youngs' harmonic ones... Neilson takes it upon himself to push the music somewhere else, alternating explosive polyrhythms with moments of pure textural abandon and accelerated breaks. At one point he even stands up and starts to sing. As with every Jandek project, Glasgow Sunday feels like an extended investigation into a single colour or state... emotionally, lyrically and sonically. Each track draws its deepest architecture from archetypal blues forms, with vocal lulls alternating with extended chord solos and emphatic rhythms. Like the late Albert Ayler, Jandek has a way of hijacking the basest/purest of folk-forms and extrapolating them into the heavens - or in this case, personal hells. Lyrically there are several references to water, seas and drowning, lots of reds and blues, and some of the tracks are unrelentingly bleak, reading like long, airless litanies of hurt. But there's also plenty of black humour and at points you can't help but feel that Jandek is poking fun at his own image and playing to the crowd. The moment when he erupts with the line 'I made the decision to get real wild' sees the whole audience explode into cheers... Who would’ve thought it? Jandek, it turns out, is a group."
* Aaron Goldberg, web review for Perfect Sound Forever. "...like all great artists they eventually gotta do the live album... An amorphous surging, coagulating blob of a live performance, Jandek's electrified death-rattle guitar is immediately reminiscent of Rowland S. Howard's playing on... live Birthday Party. But fortunate for Jandek is the fact that he has a totally cooking backing-band help elevate his sound above junkie skronk (which it still is, mind you) into some sort of free-jazz-rock-implosion with lyrics... 'Real Wild'... builds and builds and builds in Jandek's water-treading death-knell-guitar style, before he pauses to tell us: ‘I made a decision... to get REAL WILD!' before collapsing in on itself like a Black Hole. Who said he can't rock out like the best of them? Glasgow Sunday is a great, great live, real time document of the improvised miasma of Jandek, distilled and purified for his legions of fans to enjoy." |
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