IB-CD-3 CD, $14.00
A reissue of the 1986 cassette release from Al Margolis.
"These are a bunch of experimental pieces done using the
Casio SK1, which is a sampling keyboard. Apparently, this was originally released
on Medicinal Tapes (a label from France), and was reissued as a cdr on Generator.
The pieces are actually pretty good. They seem very "mucky," sort
of like trudging through mud in rubber boots. They all have melody hidden somewhere
in there. "The Evocation" is a short, but really good piece that actually
got stuck in my head at one point
it's very repetitive. "Jungle Horn"
is cool as well, it uses a classical music sample in it (amongst others)! As
well, "Dress Me Down" is a cool, spooky piece that sounds pretty neat.
Moist of the stuff here is pretty cool, lots of stuff, like "It's Your
Funeral," is scary too. There are a few pieces that aren't as good as the
others, but those are few and far between. The mood on this album is probably
the key element. Lots of the songs are eerie and need to be played in the dark,
preferably pitch black in an abandoned church or something. I recommend this
cd to people who enjoy a good mix of eerieness, experimentation, humour, and
masking tape. Well, the masking tape bit is optional." - Indieville
"Remember those strange things called cassettes? IPod addicts
will have a hard time believing that those gatherers of hiss, distortion and
lo-fi sounds once were an integral part of the avant-garde world. Through his
Sound of Pig imprint, Al Margolis/If, Bwana was one of the greatest agitators
of that wave of dirty creativity which used that method to put out bulletins
that no level-headed manager would even try to release on a proper "label".
"Radio Slaves", originally issued on Medicinal Tapes in 1986, is completely
based on the samples of a Casio SK-1 that, coupled with the cheap-as-you-can-get
sonic assemblage poetry of the author, makes for fine specimens of highly creative
music made with really basic means. Margolis captured just everything on those
memory snippets, fragmenting concepts and transcending reality with typically
unclassifiable bitterness not deprived of irony. He used pre-existent music
as well as actual environmental sources and media blather - lots of TV preaching
in there - to interconnect jumbles of sonic material that might imply some sort
of disguised meaning but, as a primary result, strikes a nerve. A masterful
example is the utilization of a Philip Glass loop (circa Koyaanisqatsi) as the
foundation for the vocal cut-up in "Fish tales from the Bible", according
to a principle of therapeutic "learn-and-soon-forget" which delivers
the listening process from the constrictions of concepts such as "taste"
and "expectancy". The whole record is chock full of short items: the
samples, the tracks, the events, yet this shortness yields a result that exceeds
the sum of the single parts. Those who are acquainted with If, Bwana's vision
already know what I'm referring to. Novices, they could be in for some serious
bewilderment and maybe a tickle to the desire of knowing more about this unique
composer." - Massimo Ricci, Touching Extremes