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There are many ways to incorporate exotic instruments into experimental music, but I’ve not heard any that are as immediately striking and beautiful as Galerie Stratique’s Faux World. Québec’s Charles-Émile Beullac used three days worth of jam time on a closet load of oddball instruments to build up a huge reference library of sounds he could convert to loops and samples at his leisure. Unlike other purveyors of altered world acoustics (Ben Vida’s Bird Show and Per Henrik Svalastog for example) Beullac seldom leans on the trance elements inherent in the sounds, preferring to let strange and discrete sound events link up in wonderful and unexpected ways. Exceptions, such as “Hors Champs,” still strike a balance between the original organic sound and its transformation into an evolving electronic entity. Little touches of electroacoustic surrealism pepper the margins as well. The end result of all these strategies is an album that lives neither in the wild nor on the desktop but in a sparsely populated middle kingdom...<http://surgeryradio.blogspot.com/2008/10/galerie-stratique-faux-world.html>
Charlie Byrd - At The Village Gate
n a world populated with a plethora of female jazz singers whose focus is to interpret, reinterpret and interpret, yet again, the Great American Songbook, it is refreshing to hear Maroon, whose latest disk, Who the Sky Betrays combines jazz improvisation, a strong pop sensibility and contemporary grooves into a wholly unique experience.The influences here are clear: take a dash of M-BASE (“When the Storm Comes”), a pinch of ambient (Radiohead’s “The Tourist”), a taste of modern jazz balladry (“Show Me”) and a hint of hip-hop (“Bully on the Block”); singer Hillary Maroon and her supporting cast blend these diverse influences into something that could only come from the urban sprawl of New York City. ..http://www.indiejazz.com/Review.aspx?review=maroon-sky-betrays
