In July 2018 WAXWORK RECORDS released a magnificent deluxe double vinyl presentation that features die-cut gatefold jackets, shattered mirror board inner sleeves, 180 gram colored vinyl, and all new artwork by Midnight Maurader. The special bonus track “Jogger’s Stakeout” by The Reds is included and, for the first time, the tracks “Freeze” by Klaus Schulze and “Seiun / Hikari No Sonoby” by Kitaro are also included.
In every way possible America is being slowly destroyed politically, financially, medically, socially and environmentally. The controlled media barrages us 24/7 with nonsensical reporting of “news” that are deliberate diversion tactics meant to keep citizens from knowing exactly what is really taking place around us.
When it’s more important to rebuild Iraq, as our own infrastructure implodes, and people go hungry every day, it’s not hard to recognize the misguided plans of the self-appointed elite. When universal medical coverage can only be achieved if it includes tax credits for the rich there’s a major disconnect of reality.
The middle class has, and is, systematically being destroyed by the obvious agenda of creating two classes, the super-rich and the poor. Ask yourself which group you will become a part of in a two-class country. Sadly, most people are more interested in social media and their cell phones than the future of our country and environment. That is why it’s imperative that everyone in the U.S. band together to take the necessary action to “end the illusion” that this is the greatest country on the planet, when it clearly is not. It’s time to realize it’s all just a modern lie.
ARTIST SPOTLIGHT: RICK SHAFFER
GARAGE-ROCKER RICK SHAFFER HAS BEEN GOING STRONG SINCE THE 70’S, AND HE CERTAINLY HASN’T LOST EVEN A LITTLE BIT OF THAT FLICKER AND FLAIR THAT MADE HIM SUCH A RECOGNIZABLE FORCE IN THE UNDERGROUND ROCK SCENE.
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 BC, you’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
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.
Bruce 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
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