On All Kind Music, NYC production duo Georgia (Brian Close and Justin Tripp) return for their third full length: ECM-era Don Cherry global jazz meets contemporary electronic avant-garde, true world dance music for the next millennium.
With guest turns on every track, Georgia explore a new approach to studio production, incorporating the sounds of world and jazz music into their digital funk and combining and processing improvisation and composed elements to create a unified, distinct voice. This approach can be heard on “Ama Yes Uzume,” as a primally incandescent vocal from Caroline Polachek (Chairlift) blends with glistening waves of piano and synth to form a euphoric rhythm that materializes out of curved air. Blending live performance with sampling and editing, Georgia constantly revise and revisit their work, breaking down, collaging, and refracting sounds.
On lead track “Slow Dance,” vocals by performance artist India Menuez waft over a loping bass line (sampled from a performance by Matt Werth of RVNG) while digital flutes cluster in the background. The outcome is a kind of new age mutant funk, not unlike the sound of Annette Peacock or 23 Skidoo jamming in the studio with Jon Hassell. Additional collaborators include avant-garde harpist Mary Lattimore, saxophonist Wednesday Knudsen, and Gabonese vocalist Abang Essone Sarah Maya. As the title suggests, this is music of many multitudes.
Watch, read and listen to more Georgia, including their other videos, music and design, as well as past/present shows here: http://asemic.club
Pitchfork “Bowed strings and digital bell tones hint at someone’s computer-aided idea of a Japanese temple; liquid piano riffing and a host of small, unidentifiable clanking sounds tip the balance toward free improv. Caroline Polachek, of Chairlift, does her best attempt to pass for an amiable jungle bird. The song rolls in waves; it feels almost cleansing, and when it has finished, its effects wear off like an evaporating mist.”
Wire Magazine “Their output is so rangy that Georgia can sometimes sound as much like DJs or curators as players. 2016’s All Kind Music crowns two prolific years that saw them release around half a dozen records, on their own Georgia Sounds imprint and labels from overseas, like Import Fruit (FTD, 2016) and Like Comment (Meakusma, 2014). The alchemy of styles on All Kind Music is particularly striking: Jon Hassell’s Fourth World works are an obvious influence, which appears throughout much of Georgia’s oeuvre, but also in its exotic stew are a taste for rhythms and textures possibly drawn from East Africa and South East Asia, given their global jazz arrangements, funky bass lines, ambient and new age synth timbres, and wordless vocal shapes.” – April 2017 (Issue #398)
The Vinyl Factory “All Kind Music is built on a sort of deconstructed improvisation, where fragments are assembled in the studio to create remarkable mosaics. On ‘Petwo, Reality Souf Broker’ this manifests as a half-remembered synthetic dream, memory skewed by Eastern opiates, while ‘Aloha’ sparks with squib-like intensity like some kind of spluttering steam-punk computer re-boot. By the time we get to ‘Slow Dance’ though territory feels more familiar, a track that could have been off RVNG Intl.’s 2015 Savant reissue (the label’s Matt Werth offers the sampled bassline here), while ‘Time Feel’ could even be mistaken for an off-kilter Mood Hut 12”. An engrossing record that reveals and rearranges itself with every listen.”-Best Albums of 2016