Post by Zapp Brannigan on Feb 6, 2011 20:44:42 GMT -5
www.lifessweetbreath.com/reviews/albums/20-anthropomorphic.html
The Mount Fuji Doomjazz Corporation - Anthropomorphic
[Parallel Corners/Denovali, 2011]
81%
The Mount Fuji Doomjazz Corporation is the far more droned, less electronic counterpart to The Kilimanjaro Darkjazz Ensemble. A mouthful isn’t it? Where The Kilimanjaro Darkjazz Ensemble complements their dark ambient soundscapes with industrial beats or “mutant jazz” as Jason Kohnen puts it, The Mount Fuji Doomjazz Corporation replaces said beats with a slow droning horn section and wind ensemble. The Mount Fuji Doomjazz Corporation’s sound comes from the more free-form approach and electroacoustic improvisation that Kohnen prefers to implement in this side project, as opposed to the more structured and silent movie-soundtrack style of The Kilimanjaro Darkjazz Ensemble. The free-form sound of the “corporation” on Anthropomorphic gives a feel and a sense of a long-lost space crew gone mad in the depths of the unforgiving universe.
Anthropomorphic is a sprawling hour long piece divided into four parts: “Space”, “Dimension”, “Form”, and “Function”. With each track being 15 minutes exactly, Kohnen places more emphasis on the composition itself rather than allowing the listener to contemplate where the composition may go. "Space" starts off the album with a trademark dark ambient drone that lulls the listener into submission. Kohnen throws us a curveball in the new album and inundates us half-way through the first part with spacey '60s-'70s electronics, creating a manic sound as if one were being engulfed into a black hole, with the horror that every particle of your being is slowly deteriorating.
Throughout the remaining 45 minutes of Anthropomorphic, we are barraged with schizophrenic free jazz violin and trumpet playing, barely audible spoken conversations, and buzz-saw electronic noise that is interspersed with the constant droning. Halfway through the album, one can’t differentiate whether or not the noises are coming from the album, or if they are actually going insane. Uncertainty to the point that the listener doesn’t just throw off their headphones screaming, but actively continues to listen, that in hopes they don’t lose their minds.
-Jordan Leman, February 1, 2011
The Mount Fuji Doomjazz Corporation - Anthropomorphic
[Parallel Corners/Denovali, 2011]
81%
The Mount Fuji Doomjazz Corporation is the far more droned, less electronic counterpart to The Kilimanjaro Darkjazz Ensemble. A mouthful isn’t it? Where The Kilimanjaro Darkjazz Ensemble complements their dark ambient soundscapes with industrial beats or “mutant jazz” as Jason Kohnen puts it, The Mount Fuji Doomjazz Corporation replaces said beats with a slow droning horn section and wind ensemble. The Mount Fuji Doomjazz Corporation’s sound comes from the more free-form approach and electroacoustic improvisation that Kohnen prefers to implement in this side project, as opposed to the more structured and silent movie-soundtrack style of The Kilimanjaro Darkjazz Ensemble. The free-form sound of the “corporation” on Anthropomorphic gives a feel and a sense of a long-lost space crew gone mad in the depths of the unforgiving universe.
Anthropomorphic is a sprawling hour long piece divided into four parts: “Space”, “Dimension”, “Form”, and “Function”. With each track being 15 minutes exactly, Kohnen places more emphasis on the composition itself rather than allowing the listener to contemplate where the composition may go. "Space" starts off the album with a trademark dark ambient drone that lulls the listener into submission. Kohnen throws us a curveball in the new album and inundates us half-way through the first part with spacey '60s-'70s electronics, creating a manic sound as if one were being engulfed into a black hole, with the horror that every particle of your being is slowly deteriorating.
Throughout the remaining 45 minutes of Anthropomorphic, we are barraged with schizophrenic free jazz violin and trumpet playing, barely audible spoken conversations, and buzz-saw electronic noise that is interspersed with the constant droning. Halfway through the album, one can’t differentiate whether or not the noises are coming from the album, or if they are actually going insane. Uncertainty to the point that the listener doesn’t just throw off their headphones screaming, but actively continues to listen, that in hopes they don’t lose their minds.
-Jordan Leman, February 1, 2011