Bruce Cohen’s “Four BC”. . . .”gives nods to shows like Twin Peaks and Stranger Things.”

Kicking off with opening track ‘Haus’, Bruce Cohen’s latest release Four BC hits out hard with a fierce beat that grabs the attention immediately.  Without much hesitation, we are sent headfirst into a dizzying spiral of woozy ambient samples and an intoxicating melody made up of swirling glacial notes.  There’s a slight tone of dread sitting beneath it all, while Cohen’s production keeps things wide and airy at the same time.  His music builds gradually, adding various new elements to the mix as it progresses, constantly growing and holding the attention.

The underlying darker tones are maintained as we are led into ‘Luna’, with its sparse atmospheric pads that heave and groan under their own weight, giving a nod towards the soundtracks of shows like Twin Peaks and Stranger Things.  Those earlier glacial notes return, adding contrast and atmosphere, with a sense of space that really pulls the listener in.  As it develops, it becomes all embracing, reaching out and wrapping the listener into its own carefully constructed world of sonic mystery. Where are we being taken?  Will we make it out alive?  This is when the confident beat of ‘Lost’ kicks in, and we now find ourselves in an utterly alien landscape.  Tones fly back and forth like an extraterrestrial language, trying to communicate but we are here without a translator.

Once you have made it a few tracks in to Four BCyou’ll begin to feel at home.  It’s like being transported to another world but it’s not scary or overwhelming.  Rather, it is entirely welcoming, where the listener is invited to relax and engage on whatever level they might feel able.  It’s not the kind of ambient music where you can totally check out and let it wash over you – although it could quite easily serve that purpose – because there is so much going on that it really demands close attention and inspection.  Sounds shift and change, never staying still but constantly evolving and reforming into new throbs and washes.

Whenever there has been a moment where things feel like they are really winding down (‘Rise’), suddenly we are headlong into a new sequence which takes us in a whole other direction (‘Seen’).  In many ways Four BC is like being invited to a huge mansion and given the freedom to wander around to investigate its many rooms.  As you begin to do so, you realize that every room is totally different with new things to discover.  And further still, you begin to realize that each room has something in common with all the others.  There is a plan here, Cohen has very carefully constructed a sequence of spaces that are totally consistent yet always offering something new.  As a result, the album sits somewhere between chilled out ambient and cerebral EDM, making it the kind of record that can be listened to in a range of settings and for different listening purposes. It’s relaxed, but won’t send you to sleep.  It’s engaging, but won’t exhaust you either.

• Chris Marsh • CrossRadar 

 

                          

 

Canada’s 3Angels Films Releases “Summer Rewind”

The latest film release from Canada’s 3Angles Power Films is, “Summer Rewind.”  Directed by Gladys Karam, the film demonstrates the concept that souls never die and continue on through blogs and vIogs, as well as paranormal activity, and ghost sightings.  Visual effects play an important role in unfolding the storyline, combined with shooting on location in historic Cornwall, Ontario, founded in 1784.

The 3Angeles continue their tradition of culling music artists from around the world, including three tracks for the film and soundtrack CD licensed from Tarock Music, “Witches Brew” by Bruce Cohen, “Got To Know” by Rick Shaffer, and “Dark As Night” by The Reds.  The film’s theme song was composed and recorded by the UK’s Rizo Balic, while artists Christopher Christofi, Ryda, Elie Kallas, Jano Feghali, Hope Wiseman, and Jeanne d’arc Karam (one of the 3Angles) each contributed their own unique music tracks.

 

JamSphere Review: “Bruce Cohen’s Four BC is ambient music that favors abstraction and improvisation.”

JamsSphereBruce Cohen is a founding member of the Philadelphia band, The Reds®, who’s first self-titled produced by David Kershenbaum, showed the band’s impressive blend of Rick Shaffer’s guitar, and Bruce Cohen’s keyboards.  The album was supported with live appearances with such diverse acts as The Police, Joe Jackson, Blondie, The Ramones, The Psychedelic Furs, and Public Image.  Cohen’s solo projects include musical scores for theatrical productions and his electronic album series “One BC”, “Two BC,” “Three BC,” and now the latest 2017 album – “Four BC.”

The liner explains that on this recording, Bruce Cohen returned to his ‘ambient electronic roots, with the slightly added twist of totally improvising every song to fit a self-imposed four minute time frame, with little to no overdubs, and no edits whatsoever.’

Douglas Rushkoff notes in his book that “ambient music isn’t a set of particular sounds one listens to but a space in which one breathes.”  In “Four BC” the layers and washes of sound and music can be focused on or ignored, lazily mind-surfed or instead analyzed.

Never a trite “sound collage”, a problem which plagues so many in this genre, this album has moods, textures and rhythms that lend well to repeat listening.  So you can dig deep or soar to the shore with this exceptional work.

Come equipped with a truly open mind because “Four BC” is easy to dismiss without one.  As improvised music, it shouldn’t be surprising that one needs to experiment in finding the appropriate setting and circumstances for realizing its potential.

It may be as simple as using headphones in darkness; for others, it may need to be experienced in nature during a particular time of year.  But the genius is in there waiting for you.  If you can’t be bothered to put in the effort, then listen anyway as you’ll still find plenty to enjoy in terms of rhythms and sounds. It just more accurate listening is so much more rewarding.

I am a devout listener of ambient/electronic music, and when I played through “Four BC” for the first time, I couldn’t believe what I was hearing, because I was so used to the mundane commercial tracks of mainstream artists.  I became instantly attuned to the vibrant, melodic vibrations and flowing wave-forms, and ethereal pings that instilled the vastness of space that was all beautifully, subtly and tastefully filled.

Frequencies are substituted for real soundscaping, as the tracks here, are evocative and extremely pleasant to listen to.  This is music that favors abstraction and improvisation, yet everything sounds well-planned out and accessible enough to hold your attention.

On the album “Four BC,” Bruce Cohen offers us more than mere sonic manipulation.  He looks beyond synth manuals and realizes music that is an inextricable weave of sound engineering, solitary reflection and ambient aesthetics.  Consider the album’s tracks as various degrees of emotion, lingering, and then shifting to another state.  For me, the musical subtlety of “Four BC” is in the impression left, rather than the story told.

∎ Rick Jamm — JamSphere MAGAZINE

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Tarock Music Releases Bruce Cohen’s “SEEN” Video

fourbc_artworkTarock Music has released a video of Seen track 5 on Bruce Cohen’s new album, Four BC.  

All of the pencil sketches in the video are the work of Cuban artist Emilio Sanchez (1921 – 1999) from his private collection created from 1940 to 1999.  His full biography can be read at The Emilio Sanchez Foundation. 

View “SEEN” on YouTube ► https://youtu.be/SwCTUP-_kM8

And, download a FREE mp3 of “SEEN” on SoundCloud  https://soundcloud.com/tarockmusic/seen-bruce-cohen

 

Tarock Music Releases Bruce Cohen’s “FOUR BC” Album

fourbc_artworkTarock Music has released Bruce Cohen’s 2017 album.

On FOUR BC Cohen returns to his ambient electronic roots, with the slightly added twist of totally improvising every song to fit a self imposed four minute time frame, with little to no overdubs, and no edits whatsoever.

Listen/Buy/ Full Tracks HERE

Download a FREE mp3 of “Seen” on SoundCloud

ALBUM LINER NOTES

 

The Ministry Of Truth Reviews “Outside Of Time”

Chairman RalphAnd so, the clock rewinds, the minute hand takes a moment to reset itself, the second hand waits for an encore cue, and we renew our acquaintance once more with Rick Shaffer, former guitarist of those amped up ’80-s Philadelphia New Wave ravers, The Reds, who’s lately racked up an impressive streak of solo albums that shows no signs of letting up.

That’s certainly the case for his latest effort, Outside Of Time (Tarock Music), which maintains the standards that we’ve come to expect from him: high energy, stripped down garage-psych and punk, infused with flecks of old school R&B, and a little hill country blues, too, while he’s at it.  As usual, Shaffer carries the load (guitar, percussion, lead vocals), with a little bit of strategic assistance from Teddy Rixon (bass) and Russ Mitchell (drums, percussion).

If you’ve followed Shaffer’s work this far, you’ll know his albums start off with a houseshaking opening track, and “Killer Time” is no exception.  The track builds around a fuzz-laced riff, and a drum/tambourine track that just propels it right along, as Shaffer asks someone — a business partner, friend, or lover, we don’t know — to just drop the pretense, and deal with life’s hard truths, for a change (“Why are you waiting for things you can’t see?).  Then, in the middle, the song explodes into a truly paint-peeling, overdriven lead solo that provides an apt counterpart to its theme (a favored subject of previous Shaffer efforts).

This up-tempo approach and unapologetic mindset prevails on tracks like “One By One” (“Ask me once, but please don’t ask again, where I’m going, and mostly, where I’ve been”), and “Blowing My Mind” (“I ain’t changing, I ain’t changing my mind now”), on which Shaffer laces his lyrics with dark flecks of guitar fills. Like I’ve said before, and feel obliged to say again — if the Rolling Stones are serious about reclaiming their mojo, here’s where that mission should start.

“Going Down Slow,” on the other hand, is a shot of grungy blues energy that nods to simpler pleasures: in this case, cruising the cityscape, and listening to music, without worrying about where you’re going, what you need to do next, or whether you’ve got to be on time (“Going down, going down slow/don’t tell the things that I already know”).  It’s a fitting subject, considering the site of the album’s recording (Del Tone Studios, Detroit, MI).  The blues elements return in full force on the closing track, the aptly-titled “Hellbound Trip,” which will definitely give a glimpse of a hellhound’s pursuit.

Other highlights include “Show Me,” a shimmering, moody piece of psych-pop that (honestly) recalls the world-weary, “shrug my shoulders” resignation of the Music Machine’s twilight years.  As on the other songs, Shaffer leaves the listener to determine just who he’s taking to task here, though it’s definitely someone that he’s happy not to see anymore (“How many times/must I try to explain/Trouble coming down like a pouring rain”).

Other tracks show Shaffer in a more pop-oriented mood.  The biggest surprise here, and a hint at a direction to explore on future albums, if Shaffer chooses.  Notable snapshots include “Blowing My Mind,” “Your Charm,” whose guitar hook nods to T. Rex’s breakthrough (“Get It On”), and “Changing Anything,” which boasts an earnestly singalong chorus amid its underdog determination (“This ain’t changing anything, no this ain’t changing anything/No this ain’t changing anything I know”).

 In less adept hands, the sonic collisions that often occur here — the layered vocals, persistent leads, and strategically deployed guitar and percussion fills — would sound soggy and deadly. On Outside Of Time, they sound just right.  Ladies and gentlemen, may we present — Mr. Rick Shaffer, Philly guitar slinger, who’s bearing down on you with everything he knows — the one-man last gang in town, who hasn’t chased the trends.  With works of this caliber, he won’t feel the need.

Ralph Heibutzki

Chairman Ralph’s Ministry Of Truth       
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Tarock Music Releases Rick Shaffer Video ∎ GOING DOWN SLOW

RICK SHAFFER GOING DOWN SLOW (final).mp4 - Google DriveRick Shaffer and director, David N. Donihue struck up a friendship when filming the video, “One More Heartache,” for Shaffer’s 2012 album, Idiot Flats.  When Shaffer told Donihue he wrote “Going Down Slow” in Detroit while recording his latest album, Outside Of Time, because he was struck by how the economy caused crime in the Motor City to skyrocket out of control.  He was especially moved after meeting so many good people that were in desperate straits as a direct result of the nose diving economy, and a seemingly uncaring Government.  Shaffer wanted to evoke a story line that would convey the desolation of Detroit, so he enlisted Donihue to create the visual scenario for his lyrics.

Donihue, a fan of Shaffer’s timeless sound, readily agreed.  His vision materialized into a story line that follows Jack Clyde, a young, handsome, yet hard edged, man living in the turmoil of the wavering American economy.  When Jack impregnates his girlfriend just as the slumping job market leaves him with no prospects, he hastily decides to rob a liquor store.  When Jack’s actions leaves the mother of his child alone in the world, it becomes her turn to launch her own plan.

CREDITS: Director: David N. Donihue | Producer: Noubar Antonyan — SuperRadFilms.com | The Criminal: Arman Oganesyan | The Heroine: Kristin Vannieuwenhoven | The Prisoner: Noubar Antonyan | Still Photography: Theresa Marchione | ©2016 TarockMusic.com

WATCH THE VIDEO ON YouTube . . . https://youtu.be/Hvk44kOocp0

 

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