Takuroku Shooting Gallery: End-Of-Year Edition (Part 1)

Sunday 27 December 2020

Cafe Oto’s Takuroku imprint has now released over a hundred albums of new music made during this year’s pandemic lockdown, with more promised for 2021. (Presumably it will end sometime next year, as will the pandemic.) Faced with such plenitude, it’s impossible to do them all justice in a substantial review. My occasional brief notes on them run the risk of making these releases seem like minor works or casual throwaways, but in most cases the artists have contributed significant statements or made bold experiments that cast their work in new light.

Along the way, Takuroku has pulled off some firsts such as, incredibly, the first solo album by Maggie Nicols. Her Creative Contradiction release has given me a better view of her work as an artist in the round than any single gig of hers I’ve witnessed. Nicols’ music often falls into the realms of improvisation and song where I feel less inclined or qualified to comment. My reviews here have tended to shy away from Takuroku’s jazz, folk and improv releases, which have made it and Oto’s live programme seem less diverse than they are. The download catalog extends even further, to film (Tori Kudo’s Archive) and their often overlooked coverage of poetry and spoken word.

Phoebe Collings-James’ Can You Move Towards Yourself Without Flinching? and Roy Claire Potter’s Entrance song; last time present us, or rather confront us, with dialogue and monologue respectively that unfolds in ways unlike a narrative and more like a Hörspiel, establishing a state of mind in the listener. Caroline Bergvall’s Sonoscura collages together a set of meditations on poetry, language and place. Michael Speers’ Green Spot Nectar of the Gods takes up language and the speaking voice as a source for music, with electronic processing transforming its sound, rhythm and informational content (instructions on how to make the piece). Nour Mobarak’s 3 Performance Works is a different proposition: stereo documentation of multichannel performance pieces and installations that document and scrutinise idiomatic uses of phonemes and phrasing. The last of these can’t help but lose a little of their impact in this format.

We’ve had previous excursions into psychedelia in this series and I would have said that Kelly Jayne Jones’ the reed flute is fire had capped the lot. In addition to the record, a accompanying limited edition of art boxes is also for sale. They contain a drawing, incense, a small pyramid, shiny stones and gold velvet, which should help give an idea of the music. Jones’s voice and flute are processed and overlaid with melting drones that can make you feel the need to crack a window and let some fresh air in so the walls stop moving. It all pales in comparison to Nakul Krishnamurthy’s Tesserae, a pair of works that draw upon Indian classical music theory and techniques. Anyone expecting patchouli-scented pabulum will quickly have their mind tied in knots by the undulating orchestra of shruti boxes and voices in Anudhatthamudhatthassvaritham, which steadily gains in psychic power through its refusal to make nice, giving the consequences of its theoretical foundations free play. Ten Thousand Dancing Shivas shows that it’s no fluke by forgoing the textural overload and still making a poweful impact on the listener, weaving together vocal phrases and instrumental responses that evoke without ever mimicking traditional practice.

(Continued in Part 2)