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Tag Archives: Sax Ruins

The dull and the downright dazzling

In the past week, I have been on somewhat of an album splurge. Here is what I’ve accumulated.

Yes! What an opener to an equally exceptional album. Spanky Wilson & The Quantic Soul Orchestra really need no introduction, producing the bass heavy and brass looping ditty I’m Thankful (Part 1), with delicate guitar and THAT voice.

The subject of my first ever blog, Field Music released their latest offering, Music For Drifters, only yesterday. Having had the pleasure of witnessing the album in its entirety live at the Islington Town Hall back in 2013, the Brewis brothers have laid down on record their instrumental soundtrack to the seminal silent documentary Drifters. As ever, it serves to demonstrate the breadth and intelligence the duo possess when composing.

Also officially released yesterday, Creation (East L.A.) from Quantic presents The Western Transient is a world feast. I have been told by a chap who I hold in very high esteem that the track is a ‘bit dull’…………I would argue otherwise.

There seem to be a few versions kicking around of this fantastic tune (the Planet Records Archive, Vol 1 cut I cannot seem to find), but this slower version of Perpetual Langley’s Surrender packs just as much punch. The vocal is simply wonderful.

And finally, also the subject of one of my previous blogs, Quopern by Sax Ruins has undeniable and unbridled joy in its main motif. Typically of the duo, it veers off into mind melting territory, perhaps not one for the soothing of a headache. Still, it’s bloody good.



Blasted from the deafening Macbeth speakers

Oh little blog, how I have neglected thee. Something suitably spasmodic should blow away the cobwebs and remaining tumbleweed.

LTM - Sax Ruins  (8)

Turns out this Tatsuya Yoshida is quite well-known in Japan, and why wouldn’t he be? He is quite simply phenomenal behind the drum kit. Alto saxophonist Ono Ryoko isn’t too shabby either. Together they form Sax Ruins. The tune in question, Yawiquo (taken from the album of the same name), is a disconcerting mix of abrasive stops, water tight playing and chaotic noise; yet, it retains a discernible groove. No more so than the lovely drop that first appears at 1.37. Then even more so at 2.29. Continue and you will be rewarded with changes in direction that would not be obviously apparent.

Enjoy (or try to).