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Charalambides - Joy Shapes (2004)
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Charalambides - Joy Shapes (2004)

20-05-2015, 15:25
Folk | Rock | FLAC / APE

Charalambides - Joy Shapes (2004)

Artist: Charalambides
Title Of Album: Joy Shapes
Year Of Release: 2004
Label: Kranky
Genre: Psychedelic Folk, Drone, Avantgarde, Experimental
Quality: Lossless
Bitrate: FLAC (tracks+.cue)
Total Time: 01:15:53
Total Size: 422 Mb


01. Here Not Here (21:54)
02. Stroke (10:01)
03. Joy Shapes (10:58)
04. Natural Night (17:15)
05. Voice For You (15:43)

Charalambides are a whole thing. Over the past decade or so, in their incarnations as both a duo and as a trio, they have given us many recorded examples of how improvisation, dynamic, tension, and sonic inquiry are used to full genre-defying effect in creating a music that is as ghostly and strange as it is exciting. Joy Shapes is the band's first record in two years -- 2003's Unknown Spin was a re-release of a limited-edition CD-Rom, and as such, it shows a deepening and widening of their trio aesthetic. Along with Tom and Christina Carter, Heather Leigh Murray adds dimension and tonal possibility with her psaltery and pedal steel, as well as her voice. There are five tracks on Joy Shapes, and the length of the set is over 75 minutes. It is a wandering, sparely paced but very intense ride into a netherworld of sound, texture, and tone. The most striking element of the album is the new range of possibilities that Christina Carter's voice brings into play. She's taking chances, pushing her dynamic and harmonic range, and singing above the music now as opposed to being a part of it. The liner notes offer references to Patty Waters and Meredith Monk that are not inaccurate, and it would also be prudent to offer Linda Perhacs and the softer moments of Jeanne Lee. Her elliptical lyrics and jarring alto bring an entirely different set of possibilities to the fore -- especially as the interplay between psaltery and electric guitars is on "Here Not Here," and the instrumental "Stroke." The title track is perhaps the most accessible and dreamy thing here, with Murray's pedal steel slipping with a nocturnal elegance between Carter's voice and Tom Carter's hypnotic, skeletal riffing.

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