Inamorata Kondo

Posted by marmara on September 25, 2017

To exit you next album MOD, a little-known Nihon (RareNoise, 2009), Laswell has made the concept of team, with himself on bass, ex-keyboardist P-Funk – Bernie Worrell'om, extremely interesting for Toshinori Kondo electron tube, Guy Licata on drums and, finally, for the dub elements, vocals and 'electricity' replied Doctor Israel. While Worrell and Kondo appeared in the early work on Inamorata, MOD seemed inspired by a hardened version of Laswell Tokyo Rotation, there occasionally appeared Kondo and group (With variations), which, to my knowledge, has not yet been recorded, as Tokyo Rotation (although many of the band's recordings on YouTube). In October 2010 the MOD released Jabuhlon – first album, recorded under the recently launched label MOD Technologies. The album consisted of 10 tracks, with the assistance of Dr. Israel and Hawkman as vocalists.

It was a proprietary blend of rock Lasvellovskaya, dub, reggae, and electronics. A month later, MOD Technologies has released Incunabula, who was to become instrumental version Jabuhlon, but in fact, the album is good in itself and in many respects superior to his more 'dub-oriented' brother. Ken Cron is likely to agree. It's amazing what Incunabula recreated MOD Nihon'a times, extended only to the addition of turntables DJ Krush'a. The output of something so is remarkable, if not the best (in the Nihon finished in the studio set of seven songs, with more 'live' listening experience, available on DVD). Running the 'Code Woo-Condensed Fiction / Volunteered Slavery' Bernie Worrell'a, solo piece for organ, with the addition of electrical keyboard, you can not get rid of the strong feelings, with which Elton John began his epic Goodbye Yellow Brick Road in a powerful work of 'Funeral for a Friend'. This is a great application for the future. 'Umi No Soko' is not silent classic Spanish 60th year – remember Miles Davis Jill Evans – in contrast to Miles Davis and Marcus Miller's soundtrack in 1987 for a siesta. Capricious harmony instruments are not even remotely similar to siesta.

It is impossible not to notice that Kondo, Laswell and Worrell make something re-chaotic, which makes the sound and worth living, maybe even better than the original Davis. Final 'Bernie Worrell Shadows' and the unusual features of a musician playing the keyboards, of course, on electric piano create a strikingly sweet melody that is as soulful and spiritual, as well as the final blues. Composition, of course, ends long before, as non-viable listener might think that this group said all it wanted. This may seem a bit uneven or unfinished, and surprisingly short for a group with such talent and blestatelnymi great ideas. But Incunabula, of course, should be heard, even if there is a feeling that somewhere there is not enough of any one thing, the sound.

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