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In this area reviews are posted about music that in most cases, are truly obtuse and obscure. The aim is to give this music the attention and exposure it deserves, and to facilitate the need for more information of those that share this writer’s dedication, and perhaps obsession for these sounds. They will focus primarily on areas in ambient, jazz, progressive rock and avant-garde music of many stripes.

COLLECTIONS OF COLONIES OR BEES—BIRDS (Table of Elements) Collections of Colonies of Bees was formed as a side project for the Milwaukee-based post-rock group Pele. In the wake of the dissolution of that band, CoCoB is now the full time group consisting of Pele alumni Chris Rosenau (guitar), Jon Mueller (drums and percussion), Jim Schoenecker (synthesizer and electronics), plus the talents of Dan Spack (baritone guitar) and Thomas Wincek (Fender Rhodes piano and electronics). The music on Birds is in some ways a simpler undertaking than on Pele’s albums, where the spidery guitar runs complimented supple and complex work by the rhythm section. However, the less overtly brainy compositions on Birds work very well indeed. The four tracks (entitled Flocks I, II, III, and IV), are given 7 to 12 minutes to evolve (whereas the typical Pele tune averaged between 4 and 5), usually opening with electronic burbling and fragments before giving way to a theme anchored by the guitars and drums, with very elegant, uplifting themes gradually being embellished upon in a most restrained manner. Rarely has music of this nature been so overtly sunny in its disposition, inviting the listener to share in the ecstasy and rapture of their creation, with Flocks III and Flocks IV being particular engaging. To this listener, the music (with its swelling guitars and the insistant, striding drums), evokes the blooming and growth of various fauna and flora after a cold winter. Where previous efforts by the Bees placed a strong emphasis on the electronic and computer manipulated aspect of the group, Birds sees a more organic approach taking hold, with the electronics used as coloration and enhancement. An extremely enjoyable effort, and one that will complement the onset of spring and summer to boot.

GUAPO—ELIXIRS (Neurot)

Elixirs is the incredible follow up album to the 2004 release Black Oni . It completes the projected trilogy inaugurated in 2003 with the Five Suns album (Black Oni being part two). In the four years since Black Oni, there has been both upheaval (founding member and bassist Matt Thompson left the group) and fervent extra curricular activity (most prominently but not restricted to Miasma & the Carousel of Headless Horses). Reduced to a duo of Daniel O’Sullivan (electric piano, organ, bass, guitar, autoharp, percussion and harmonium) and Dave Smith (drums and percussion), Guapo has forged ahead with a sound somewhat less intense than previous offerings, but no less imbued with a sense of mystery and dread. The six long form compositions, with enigmatic titles such as “Arthur, Elsie, and Francis”, “King Lindorm”, and “The Heliotrope” had this writer scrambling to the internet to divine the meaning of these obscurities (and they are quite interesting . Those interested in arcane curiosities should investigate as well). Melodies and themes evolve like curls of sinister smoke, or the shifting coils of legless reptiles, building and amassing layers of counterpoint and structure. The album has a strong incantatory nature that for some will evoke secret spells and Magickal artifacts, often working toward spectacular climaxes. For the first time, vocals are present on two tracks, in the form of understated repetitive phrases and subliminal chants, lending atmosphere that is somewhat soothing in one example, and quite eerie on the other. Enthusiasts of Univers Zero, Magma, King Crimson, and the Necks will find much to absorb and appreciate. Newcomers and interested parties would be advised to invest in the earlier records as well.

Ulaan Khol is a new project conceived by Steven R. Smith, ultimately projected to be a three part series. Though perhaps unknown to many listeners, Smith has appeared on dozens of recordings associated with the loose California based Jewelled Antler collective with the groups Thuja and Mirza. In addition, he has numerous (and often difficult to locate) albums listed under both his own name, and the moniker Hala Strana. Ulaan Khol is yet one more guise/concept for Smith to grace the lucky few familiar with his art. Although it incorporates some of the familiar strands of Smith’s other projects, Ulaan Khol is notably different in its gauzy, deliberately lo-fi recording techniques. This is something that Smith has used as a tool in the past, but not as to the extent on display here. There is little of the overt East European folk music flavor that is so predominant on his Hala Strana records, and even on recordings under his name. What is present, and what unifies this disc with nearly all his works is the strong notion that this is music for films yet to be made. Using a palette of guitars, organ, and occasional percussion, Smith conjures fuzzy mini epics on these nine untitled pieces. They are awash in mystery and portent, sometimes giving the impression of listening voyeuristically to music through a wall, or closed doors. Sometimes, as on the first track, guitar and amplifier (deliberately) cough and splutter, the sheer will and tenacity of a beast rising from the primordial goop to see the theme defiantly to its conclusion. Often, one envisions viewing a beautiful landscape as shown through a dirty or hazy lens. Desolation and loneliness are also beautifully evoked, but occasionally a majestic sequence will quietly make an entrance and gradually grow into a muscular theme of purpose and strength. Smith’s skill at creating such wonders is undeniable, and one is eager after hearing Ulaan Khol for the forthcoming volumes.

Spring Heel Jack is an ongoing project helmed by two English producers/musicians, John Coxon and Ashley Wales. It has evolved from the earlier recordings, which are of a drums & bass nature, to something more indescribable and timeless. Beginning with their seventh album, Masses (2001), Coxon and Wales assembled the cream of American and European jazz musicians to play on their records. The premise on that record and every one since then (excepting 2003’s Live), is for Coxon and Wales to provide a loose template for the guest musicians to improvise over, which afterwards may or may not be tweaked, reconfigured, deconstructed and reshaped with a variety of studio tools. The results are not so dry, clinical, and overly intellectual as this may imply, and in fact are very often extremely emotionally affecting. Among the core group of players this time around are Roy Campbell (trumpet, flugelhorn, and flute), John Tchicai (tenor saxophone and bass clarinet), Orphy Robinson (vibraphone), John Edwards (double bass), and Tony Marsh (drums), with other musicians contributing here and there. Wales restricts himself to audio samples this time around, while Coxon plays electric and acoustic guitars, bass guitar, samples, violin, and glockenspiel. With a sonic palette as diverse as this, they are able to conjure a vast array of emotions and textures, though the overall mood is contemplative and at time somber. It should be noted that this is not a jazz record (although the music is certainly informed by jazz), but a strange and wonderful hybrid of styles that has yet to be named. Opening track Church Music (featuring Campbell’s majestic fugue-like solo over which Tchicai paints angular strokes of saxophone) and the semi-epic At Long Last are highlights, but it is perhaps pointless to single out individual moments on an album filled with such striking beauty and grandeur.

The Cancer Conspiracy was an instrumental rock trio based in Burlington Vermont . The group consisted of Brent Frattini (bass guitar), Greg Beadle (drums, keyboards, and saxophone) and Daryl Rabidoux (guitar). The group’s first album, The Audio Medium, was released in 2002. While on tour in support of that record, the band’s equipment was stolen. This was the final incident of bad luck that had dogged the group since its inception, and they disbanded soon after. However, they did manage to stay together long enough to record Omega, their final album. The album was unavailable until early 2008, when it was picked up for release by Gilead Media. It is a pity it had to wait so long to be heard, as it is quite good, possibly superior to the Audio Medium. Though they were usually classified as post-rock, they were in fact equally influenced by 1970s era progressive rock. The eight tracks (entitled Omega Parts I – VIII), are vivid, concise and fiery; and played with skill and great precision. The individual movements often segue into one another, adding to the suite-like conceptual premise, i.e., this record was made to be listened to from beginning to end in one sitting. Veering from segment to segment seamlessly and effortlessly (sometimes strongly recalling Hemispheres-era Rush) in a high energy rush, and hurtling toward the final movement’s thrilling conclusion, one wishes fate had smiled more kindly toward Cancer Conspiracy, and that they could have produced more music. As it stands, those predisposed to this style of music should be gracious and appreciate what little of it does in fact exist. Musicians such as these strive to make their art against sometimes insurmountable odds, and the listener should feel blessed that they went through the effort, and in turn give Omega its due.

JONAS HELLBORG-ART METAL (Bardo)
There is an unfortunate stereotype that musicians with boundless instrumental technique are consigned to make cold, clinical, and dexterously proficient music that sacrifices raw emotion and expression for theatrical flash. While true in many examples, Swedish bassist Jonas Hellborg is fortunately not one of them. His roots in jazz fusion, and collaborations with legends such as Ginger Baker from Cream, Bill Laswell, John McLaughlin, and Tony Williams attest to his caliber, but in his 30 years plus career as a musician, he has shown to possess a questing spirit. His recordings, released independently over the years on his own labels (previously on Day Eight Records, but now on Bardo Records), coalesced into a high octane power trio with Shawn Lane on guitar and Jeff Sipe on drums. This group produced fantastic examples of high energy electric jazz-rock fusion on albums such as Temporal Analogues of Paradise and Time Is the Enemy, but also acoustic Eastern-influenced mellow gems such as Zenhouse. Hellborg has also worked with musicians from India and the Middle East, displaying fluency and understanding of those forms on Aram of the Two Rivers-Live in Syria, and Icon. When Shawn Lane died in 2003, Hellborg decided to form a new group that encompassed all the different strands of his interests and experiences into a new coherent form, and the result is 2007’s Art Metal. Comprising fellow Swedes IA Eklundh on guitar, Jens Johansson on keyboards, Anders Johansson on drums and percussion and an Indian, Selvaganesh on kanjeera, (a tambourine-like instrument that in this master’s hands conjures an unbelievable wealth of sounds), in addition to Hellborg on bass. The album balances tight, rapid fire unison lines with moments of gentle introspection and beauty, and culminates in the jaw- droppingly complex and awe-inspiring title track, closing out a truly remarkable and one of a kind album.

DEL REY-A PYRAMID FOR THE LIVING (My Pal God)
In addition to blues and jazz, Chicago Illinois has been a busy hive of activity of that curious sub genre of music known as post-rock, with a great number of groups (including the band whom some consider the flagship of the movement, Tortoise) emanating from the Second City. In the current arena in which there are a plentiful supply of instrumental guitar driven bands, one may ask what it is exactly that makes Del Rey stand out among the crowd. There are actually several distinguishing characteristics. First, three of the four group members double on guitars and basses, including the obscure Fender Bass VI, an instrument pitched somewhere between a standard guitar and bass guitar, and which have only been produced sporadically over the years. That instruments unique midrange tonality makes an important contribution to Del Rey's sound. Second, the band utilizes keyboards and live electronics, but they do so judiciously and sparingly, so as not to rob the music of its strong dynamic attack. Third, in addition to their regular drummer, one of the guitarists will sometimes play a second kit, using the two drummers to conjure a polyrhythmic secret weapon that can dazzle in its complicated interplay. They also are fluent in various ethnic music styles, which sometimes add exotic textures, rhythms and modes of expression. A Pyramid for the Living is the group's third full length album, and contains five extended compositions ranging from eight to twelve minutes, featuring tight unison playing with a strong sense of linear development, and addictive, complex riffage that often incorporate unusual time signatures, but always maintains a flow and finesse that speaks of unquestionable talent and inspiration. Del Rey is scheduled to enter the studio to record a follow up to this album in January 2008, but until then it is strongly recommended to those who have a weak spot for adventurous sound of this nature to treat themselves to this.

THE RED SPAROWES-EVERY RED HEART SHINES TWORD THE RED SUN (Neurot) The second instrumental rock installment from the Red Sparowes, featuring members of Isis, Neurosis, and Halifax Pier, offers further evidence that this is no mere side project. Their music is equal to, or perhaps even better than the musicians’ regular groups. Their dedication to making heavy music without the normally obvious usage of power chords remains: they instead rely on single plucked notes on guitar, or shading from electric piano, or the swell of pedal steel guitar. All of this is used in conjunction with their powerful yet finessed rhythm section of bass and drums. The album is a concept record of sorts, centered on events that transpired in China during the 1950s. The Maoist regime undertook a plan to exterminate sparrows (also on the hit list: rats, mosquitoes, and lice), which were feeding on farmers crop seeds. Millions of birds were killed, but it created the inadvertent effect of eliminating a predator that also fed on locusts. Therefore, locusts swarmed in thick clouds over China, wiping out crops and causing the starvation of millions of the Chinese populace. One may, with validity, ask how this theme is expressed without the use of vocals or lyrics. It is accomplished through the use of a short text provided on the discs packaging, which is divided into eight lengthy song titles, an example being the album’s opener: The Great Leap Forward Poured down Upon Us One Day like a Mighty Storm, Suddenly and Furiously Blinding Our Senses. This is not typical subject matter for a rock album, and in truth it is only somewhat obtusely referred to in the aforementioned text/song titles, but it is enough to stimulate the curious listener into perhaps digging deeper and finding out more about this dark chapter of human history. The music used to convey this loose concept is much like the Sparowes excellent debut, At the Soundless Dawn. That is to say, it is by turns beautifully solemn and crushingly explosive, and packed with memorable melody and spine-tingling crescendos. In other words, a high water mark for the Red Sparowes, and the post-rock genre in general.

DAVID TORN-PREZENS (ECM)
David Torn is a guitarist who has been recording since the early 1980s. His style melds electric and acoustic guitars together into a seamless whole via judicious use of electronic effects and gadgetry. He most often plays in contexts that adhere mostly to the harder edge of jazz fusion, with the strong influence of King Crimson-esque angularity and tonality very much in evidence. If there is an artist who comes to mind when hearing Torn, it would surely be King Crimson's hugely influential and talented guitarist/leader, Robert Fripp. An early 1990's brain aneurysm, coupled with an abundance of lucrative film score and production work, meant that Torn had not put an album out under his own name since 1998. Prezens, however, has been worth the wait. He was persuaded by his good friend, saxophonist Tim Berne (for whom Torn has produced several albums) to return to live performances, with an eye toward cutting a new disc. They are accompanied on this outing by Berne's Hard Cell group, comprising drummer Tom Rainey, and keyboardist Craig Taborn. They have ample pedigree to add to this date, which was recorded live in the studio, with minimal post performance editing done later. Consisting mostly of long, gradually building, and ferocious improvisations, and alternating these with short interlude pieces, Prezens benefits greatly from Rainey's trademark stuttering, propulsive drums, Berne's acidic, high-octane alto saxophone, and the wide sound palette Taborn conjures with his array of electric piano, organ, and Mellotron. All this is given coherence by Torn, who shades the proceedings by spitting out a splintery shrapnel of serrated notes, or creating colorful, deep hued backgrounds for the other musicians to roam upon. For lovers of creative modern experimental music, this is a sublime meeting of masters.

EARTH-HIBERNACULUM (Southern Lord)
Earth started back in the early 1990's as an instrumental drone-metal act, with sludgy, distorted power chord riffs slowed down to a crawl where motion was nearly imperceptible. But with 2005's Hex: Or Printing in the Infernal Method, a new aesthetic took hold - the sssslllloooowwwww, glacial pace remained, but in place of doom metal guitars, they now incorporated soft drumming, and reverb and tremolo drenched, clean picked electric guitars. Hibernaculum continues this trend, the music evoking cacti and tumbleweed crusted desert vistas, or the clank of spurs and boots on the desolate, wooden sidewalks of a dirty, dusty old one road cowboy town of the old west, before an impending shootout! Full of dread and menace . This set includes the audio disc containing four long tracks plus a DVD containing live tracks and backstage footage. So, soooo good!

NIK BARTSCH'S RONIN-STOA (ECM)
Bartsch is an amazing, highly individualistic pianist/composer who creates a fantastic hybrid of jazz,funk,and minimalism. Echoes of Steve Reich, 1980's era King Crimson, 1970's Krautrock legends Can, or contemporaries like Australia's the Necks all come to mind when listening to this. His group consists of piano, bass, drums, percussion, and bass and contrabass clarinets which are played by someone mysteriously named "Sha". He plays his horns in a non-conventional way, mostly making percussive rhythmic pops and tongue stops as opposed to linear melodic statements, functioning as another percussion-like instrument. This leaves Bartsch as the main soloist, cruising over the top of the dense repetitive web his hot rhythm section contructs. Sleek, clean, almost clinical, a notion reinforced by the track titles, which are all given the desciptor of "Moduls," to which a number is then affixed, such as, "Modul 33" or "Modul 38_17." This means each Modul is a loose motif used as a platform for improvisation an dialogue between the musicians. This is his seventh record, but the first to be released in the U.S. Utterly unique, but not so cerebral that you can't tap your toes. Bartsch describes it as "Zen funk" and that works as well as anything when trying to convey what this platter sounds like!

MONO-GONE: A COLLECTION OF EPs 2000-2007 (Temporary Residence)
Mono is a four piece post rock group from Japan that often augment their line-up of two guitars, bass and drums with violins, violas, and cellos. Their music usually starts with several minutes of achingly beautiful and quiet group interplay, before gradually building into towering edifices of blistering noise and cacophonous mayhem, until things reach a critical mass and subside back into gorgeous, twinkling codas. This set is fantastic for fans, as it collects rare and unavailable music for the first time on one CD. Powerful and cathartic, this is a must-have for fans of Godspeed You Black Emperor, Mogwai, or Explosions in the Sky!

TIED + TICKLED TRIO-AELITA (Morr Music)
Best known for fusing modern electronic rhythms and textures with jazz horns and rhythms, the group has pared away the arrangements and removed the horns. In their place are a variety of bells, xylophones, vibraphones, organs and mellotrons. The effect this has is that it gives the music a sort of gray minimalist feel that evokes the bare trees and cold wet streets of winter's dusk, or the sooty blackened aftermath of Armageddon. The structure is often architectural in scope as a tune will begin with simple elements and more layers are gradually built upon them. So good! Definitely a record to put on while curled up with a book on a chill autumn evening.

JAMES BLACKSHAW-CLOUD OF UNKNOWING (Tompkins Square)
Blackshaw is a little known but extremely gifted master of the 12 string guitar. He uses alternate tunings on his guitar, which gives his music a sometimes otherworldly tonality. His records are all instrumental affairs that most closely resemble folk music, but also incorporate Eastern and other World musics. Cloud of Unknowing is this Englishman's fifth album of delicate and intricate webs of beautiful sound and dreamlike sonorities.