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Cover |
Musicians |
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Bruce White: guitar,
synthesizer, bass
Harry
DeCourcy, David Cook, Adam Stockton, Holmes, Mark Cobb, Jim Wert,
Tim Egan, Andrew Stoeckley, Mike Fiorentino, Scott Edwards, Brad
Wegner, Kate Jenkins, Brian Leonard |
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Release |
Label |
Cat. N° |
Playing Time |
Rating |
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2002 |
own release |
- |
43'02" |
7/10 |
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Website |
Contact |
Style |
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www.mohodisco.com |
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ambient progressive rock |
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Review by |
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Walter Haentjens |
Even after listening some 6 or 7 times,
I still don’t know what to think of this “Kaloomith”. Mohodisco is
Bruce White, a writer-producer & multi-instrumentalist from San
Francisco. For this album, he had the assistance of 14 friends/musicians.
It’s become a mixture of jazz-fusion, electronic/cosmic pop,
instrumental experiments and a drop of progressive rock. The
different styles you can hear are caused by the diversity of the
artists. On the whole, the CD is a heterogeneous project that is
hard to comprehend, but the tracks in themselves are quite enjoyable
(preferably with an hour of rest in between them).
The opener “Praxis” creates a jazzy-disco-rock sphere in a
monotonous rhythm, whereas “Our paths are sonic waves” reminds me a
bit of “Spin” by Spin (a Dutch band). The vintage-synthsounds that
emerge are passably pleasant. But it’s more about creating an
atmosphere than a real song.
“Gravity” starts in a pure cosmic style (the early Tangerine Dream
period) with a rhythmic synth-sequence and, further on, the drums
amplify the sound. I don’t know if it was meant that way, but on
this track, as well as on “Remote viewer”, my attention wanes and
SF-like images pop up, such as in factories where the workers
operate like robots in a monotonous tempo. “Dig it” from Klaus
Schulze had the same effect on me.
“Soft and sharp” is situated even more in the experimental cosmic
arena. I prefer “The Source” where rock guitar and synthesizer
provide a timbre that evolves from cosmic to jazz and funk rock.
Experiments and variations are trump in “Mystery falls” a track with
(again) the preponderous, monotonous road movie-disco rhythm (think
you’re driving along an endless highway where the landscape passes
slowly by and the white stripes dictate the tempo).
The start and finish of “Kaloomith” are atmospheric; the middle part
is based on bass, drum and synthesizer.
The drop of progressive rock is far to seek, but that was never
pretended by Bruce White. As I mentioned in the introduction, the
whole of the album can be considered as a partially successful
experimental piece of music, creating a lot of atmosphere. Whether
it’s the right atmosphere, I leave that to the listeners.
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