N O W ' S T H E T I M E
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by Biba Kopf
V o I c E S P R E M A T U R E L Y silenced rarely remain so. The Noise Of Time, to borrow Russian poet OSIPMANDELSTAM'S resonant title, does not bury them so much as amplify them - "andonly by listening to the swelling noise oftbe age and bleached By the foam on the crest of its wave did we acquire a ianguczge''. The voice of Mandelstam, who died in one of Stalin's camps, is an apt illustration of the process, even if it only echoes indirectly through NY guitar harmonic overloaders BANDOPSUSANS'one memorable song to date, called "Hope Against Hope" after Mandelstam's wife's biography. (Its sequel Hope Abctndoned would have been a better starting point for getting down the noise of a present capitulating to market forces.)
The vociferous voices of Dada, Surrealism and Futurism, on the other hand, have rarely paused for breath since they were first raised across a Europe ravaged by the First World War. Their violent rending of perceptions made wounds of the eyes and ears, opening them to the infections of the age of noises; and ever since art and music have not been allowed to close the wounds, anlaesthetise them, or cleanse them, of life's uglinesses. From Burroughs through Hip Hop it's hardly necessary to reel off a litany of names indelibly daubed by Dada et al. (Who'sAI? - Ed.) Suffice i t to say a lovingly compiled selection of many a livid experimenter's ancestral voices like Futurism A d Da& Reviewed (Sub Rosa SUB 33014-19, address: PO Box 808, 1000 Brussels, Belgium) is not only a thunderous celebration of Anti Art breaking wind in the salons and new ground outside them; it also reveals where the present acquired its liveliest languages.
Although i t shares some archive recordings with the Liverpudlian Ark label's D& For Now (Russolo, Tzara, Janco, Huelsenbeck), it raises the volume of its own broadside with two Futurist manifestos from MAR IN ET^ loudly proclaimed above vamped piano improvisations, reminiscences from DUCHABW,HUELSENBECKand TZARAunderscored with the first-named's treated piano piece, WYNDHAMLEWISas enemy decoy wilfully drawing flak from all sides, and, lastly, the irresistibly indiscreet charm of JEAN COCTEAUreciting to lobby jazz orchestral backing.
Every age translates Dada collage and olbjss tro& seclama-lama tions of preexisting forms according to its own needs. NW Slowenische Kunstlers Laibach described their rough hrom expropriationsof Art as Retrogard. Berlin's Dm HAUTu~edto hallow their loving, yet scientifically precise errhumatins d the guitar instrumental with the term Cobservative Exeremism. The term's been dropped, but their current LP H&&. %
Body In A Topless B#r (What's So Funny About . . . G e m , import) displays they've lost none of their acumen b r cwpliag '
slow-fuse guitar dynamics with guttering titles like "SWtaneous Human Combustion". A vocaI side kturing Ni& Cave, Anita Lane, Mick Harvey and Kid Congo increases I t s *
potential to set box offices ablaze.
The American SST label is equally devoted to the guim & .'; incendiary device, but too many of its releases (recently, from ,:i Das Damen and The Screaming Trees) fan the embe- 6% charred Byrds, Black Sabbath and Husker Du albums srithsrtg;& really setting them alight. HENRYKAISW'Sp w h g Tkti:; WhoKnow History Are Doomed To R@wt It (SST 198), h o e d ;:' goes for a more difficult take on THEGRATEFULDEAD'S"Dark . S t dThe Other One", enriching certain of its imprmised , passages with an extended instrumental range that ddsdepth , of field to Dead Space. If nothing else i t proves thar, at rw&b': final reckoning, the too easily maligned Grateful Dead R-Y
let you down. They have The Noise Of T k on their side. : L$
by Paul Gilroy c ' d - r l
R H Y T H M A N D jazz event of the month has got CO b 2 the major-label debut of MICHEL CAMIU),pianist extmrdi- . naire. A sometime sidekick of Paquito D'Rivera, Gunilo is S
florid, almost baroque, Latin stylist who is tenaciously loyal t~ the acoustic instrument. He hails from the Dominim Repub- 4 c lic and has already cut several tasty albums for J a p r a 4 -
European release on the Electric Bird label. His two previous sets plus an exhilarating album with the late-lamented band 2 ,
French Toast were notable for the dazzling musical partnership f : ' which Camilo formed with contra-bassist Anthony J B C ~ S O ~ , +&. His classically-inspired harmonic inventians provided rhe dynamic counterpart to Camilo's soloing which thrives in a trio setting. With drummer Dave Weckl this pgir h p d
W I R E M A G A Z I N E