...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...

[Gdy obojętność jest przyzwoleniem, a przyzwolenie jest akceptacją, gdy akceptacja jest tłumaczeniem że sytuacja jest wyższa racją...]

Musician, composer, and computer programmer Nick Didkovsky seems to have so many projects and possibilities rattling around in his cranium that his guitar-playing abilities tend to get overlooked. He uses interactive computer technology extensively in his Doctor Nerve group, and in their most recent recording, Ereia, he experimented compositionally with a combination of avant-rock band and string quartet. So this stripped-down trio album, recorded with longtime Soft Machine bassist Hugh Hopper and drummer John Roulat, is, in a sense, Didkovsky's equivalent of Frank Zappa's Shut Up 'N Play Yer Guitar series -- a chance for electric guitar enthusiasts to hear a great axeman at work in settings that are designed to bring his guitar front and center. However, Didkovsky's restless imagination would not allow him to settle into a predictable groove no matter what he was doing, so the overall effect of this recording is closer to Fred Frith-style experimentation than standard displays of fretboard dexterity. Musically, it covers a whole lot of territory, even if Didkovsky's instrumental prowess is the intended focus.

Techno-geek that he is, Didkovsky finds a way to indulge his interest in cutting-edge technology by never actually playing with his two fellow musicians on Uses Wrist Grab, but instead exchanging and assembling all 14 pieces on the CD through the use of MP3 and CD-ROM audio files. In fact, Didkovsky and Hopper have never even met, although their mutual interests and sympathies are obvious. Individual pieces of each composition are mixed and stacked in various combinations, with guitar, bass,and drum parts sometimes multi-tracked, and Didkovsky uses his nic toys occasionally, such as his "Machinecore," which Didkovsky describes as "an interactive software instrument." Didkovsky establishes his credentials early in the program with "Foster Wives, Trophy Hair," with Hopper offering nasty fuzz bass riffs by way of support. On this piece, Didkovsky condenses almost the whole history of the electric guitar into a five-minute slab of controlled dementia, first making his instrument squeal, howl, moan and twitter like a roomful of insects, then layering on some crunchy power chords, slipping into some down 'n' dirty slide work, and moving to a lyrical interlude before ending with a flailing, heavy metal flourish. "Big Bombay" has more of a King Crimson quality to it, combining a sinuous prog rock theme with heavy metal energy. Roulat gets a solo opportunity on the multitracked "Hotel Romeo," a very tribal-sounding piece of trance percussion. The adventurous Didkovsky is not predisposed to ride the heavy metal horse (or any other musical horse) into the ground, so the 14 relatively short pieces on this CD soon move beyond feedback and whammy bar heroics, and into sinister ambience ("Jungle Rev"), delicate minimalist ("Sara's Wrist Grab"), jaunty cabaret/carnival sounds ("Green Dansette"), and even a warped rockabilly shuffle ("V-ram"). The pure percussive "Overlife, Part 1," for prepared guitar and drums, perhaps overstays its welcome by a minute or two, but it's really the only (small) downside to this very entertaining guitar extravaganza, which should hopefully introduce Didkovsky's instrumental abilities (and imagination) to a wider audience.


This is the first album by guitarist Nick Didkovsky (Doctor Nerve), bassist Hugh Hopper (Soft Machine) and drummer John Roulat (Forever Einstein). Inspired by the energy and iconoclasm of heavy metal, evoking the fervor of guitar gods past, Bones' music is cathartic, blistering, and smart. Wailing, distorted guitars and driving rhythms delineate compositions that are brilliantly constructed, compelling and concise. Upon close inspection, this seemingly traditional guitar-bass-drums lineup is revealed to be anything but. In addition to the traditional rock instrumentation of guitar/bass/drums, some tunes on the album feature nics such as synth and tape loops, played by Hopper, and digitally based computer software instruments played by Didkovsky. The music ranges from take-no-prisoners-and-give-no-apologies intensity to deep floating psychedelia. Intense, precise, surreal: Bone is a power trio that defies expectations!

Psychedelic Rock, Avantgarde, Experimental

1 To Laugh Uncleanly At The Nurse 3:00
2 Foster Wives, Trophy Hair 4:51
3 Chaos, No Pasties 2:33
4 Big Bombay 5:57
5 Hotel Romeo 3:41
6 Danzig 1:55
7 V-Ram 3:14
8 Jungle Rev 5:36
9 Sara's Wrist Grab 4:17
10 Overlife, Part 3 3:39
11 Overlife, Part 1 5:27
12 Green Dansette 2:49
13 We'll Ask The Questions Around Here, Part 2 2:47
14 Little End Or Beginning 3:50

Bass, Swell Synth, Rhythm Loop – Hugh Hopper
Drums, Percussion – John Roulat
Guitars (Prepared & Otherwise), Machinecore, Hell Cafe, JSyn – Nick Didkovsky

https://www.youtube.com/watch?v=5vHecDipSk8

POZWÓL POBRAĆ INNYM, NIE BĄDŹ ŚWINIĄ!!!

INITIAL SEEDING. SEED 14:30-22:00.
POLECAM!!!

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