Jonathan Kane (ex drummer of Swans) /Psychedelic-Minimalism-Blues/

[Adolf Wolf]

JONATHAN KANE is a Downtown NYC legend -- as co-founder of the no-wave behemoth Swans and the rhythmic thunder behind the massed-guitar armies of Rhys Chatham and the rock excursions of La Monte Young -- and one of the hardest-hitting drummers on the planet. In his own work, Kane summons Swans' concussive wallop, Chatham's dense guitar strata, and the perpetual propulsion of 70s krautrockers Neu, then steers it all head-on into... the blues. In Kane's high-decibel swaggeryou'll hearthe mind-blowing reinvention of both minimalism and the blues:guitar-driven minimalism propelled into the blues, and the blues exploding into guitar-driven harmonic maximalism.
JONATHAN KANE'S FEBRUARY features rock legend ERNIE BROOKS (MODERN LOVERS, RHYS CHATHAM) on bass; DAVID DANIELL, DAVID BICKNELL, JON CRIDER and PAUL DUNCAN on guitars and JONATHAN on drums.
"A massively subtle psychedelic system... Here, even the slightest flux in rhythmic/melodic detail seems almost tectonic ... Ferocious." The Wire
"Paradise between the back porch, the urban jungle and the heavens above ... Rarely does the avant-garde rock this hard." Time Out New York
"February is a drone-inspired record in a big way; massive walls of chugging Chatham/Branca-leaning dissonant single guitar chords lead the way through long, and at times bluesy workouts. ..." WFMU
"ROCKS! Great Southern-fried looped blues rock. Like Steve Reich if all he listened to was Muddy Waters and Zeppelin." Dusted



As co-founder of Swans and a volcanic drummer behind such notables as Rhys Chatham and La Monte Young, Jonathan Kane has provided the rhythmic foundation for several classic Downtown NYC landmarks. Perhaps it's this pedigree that allows Kane to deliver his solo debut February with such high decibel self-assurance. His music's intrinsic swagger is crucial to the album's success, for here Kane has chosen to work almost exclusively within the outwardly stagnant vocabulary of the blues. Though he utilizes some of the most familiar and overworked progressions of the past several decades, on these five pieces he side-steps clich?y marshaling his minimalist riffs to their trance-inducing limits, and deftly sparks a synaptic link between Neu!-style repetition and the hypnotic electric blues of Junior Kimbrough.
With the exception of some guitar contributions from Igor Cubrilovic, February is a true solo work, as Kane handles the rest of the guitar, bass, and drum duties himself. On these five instrumental pieces he's stripped away all of his music's inessentials, excising overwrought vocals or flashy solos to instead pare these blues-based excursions down to a streamlined, locomotive core.

Kicking immediately into an unapologetic foursquare blues riff, the 12-minute opener "Curl" initially does little to impress, Kane biding his time as he patiently sweeps again and again through each dusty corner. As the track progresses, however, the riff begins to build a tenacious momentum through a series of almost imperceptable directional shifts, and soon the massed overtones of the guitars course against Kane's powerhouse drumming to assemble into a singularly captivating propulsive drone. Likewise, the set's version of the traditional "Motherless Child" elongates the old spiritual's structure nearly beyond the point of recognition, with each melodic detail considered in isolation beneath distant ascending distortion and the rolling boulders of Kane's unyielding rhythms.

Spacious tracks like "Pops" and "Sis" incorporate subtle traces of parched earth Americana to somewhat less invigorating effect, although Kane supplies each with a certain sawtooth grit and a cold-blooded rattlesnake resolve. But he saves his most effective transmutation for last with his mammoth set-closing take on Rhys Chatham's epic "Guitar Trio". Whereas the original was a cascading, open-tuned electrical current, Kane's blues-refracted interpretation concentrates its substantial energies onto the piece's imposing rhythmic lumber. Over the course of the track's 12-minute length, Kane adds and removes sonic elements with the single-minded endurance of wide, muddy river carving itself a canyon, and with the unwavering confidence of an already-veteran solo performer secure in his vision.
-Matthew Murphy, December 07, 2005


JONATHAN KANE

Jonathan Kane - February
------------------------
Artist...: Jonathan Kane
Album....: February
Genre....: Psychedelic-Minimalism-Blues
Date.....: 2005
Lable....: Table Of Elements

Source.........: CD
Bitrate........: VBR 320 kb/s
Sample rate....: 44100 Hz
Bit resolution.: 16 bit stereo
Size...........:

Cover..........:


Tracklist:
------------------------------
1. Curl ...............(12:06)
2. Pops ...............(06:18)
3. Sis ................(09:56)
4. Motherless Child ...(06:18)
5. Guitar Trio ........(12:20)
------------------------------
Total playtime: .......(47:00)

Links..........:

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[klesch]

"I Looked At The Sun"
2006



01 BQE
02 I Looked At The Sun

256 Kbps
34.9 Mb

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[klesch]

"The Little Drummer Boy"
2007



01 The Little Drummer Boy

192 Mb
20.1 Mb

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[morgenstern]

Album: February
Released: 2005
Quality: mp3 CBR 320
Size: 111 MB


Tracklist:
1 Curl 12:03
2 Pops 6:15
3 Sis 9:52
4 Motherless Child 6:14
5 Guitar Trio
(Written By – Rhys Chatham) 12:20

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________



Album: Jet Ear Party
Released: 2009
Quality: mp3 CBR 320
Size: 125 MB

Tracklist:
A1 Smear It
A2 Gripped
A3 Super T-Bone
B1 Blissed Out Rag
B2 Jet Ear Party
C1 Thank You Fallettinme Be Mice Elf Agin
C2 Up In Flames
C3 Roller Coaster

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Fileserve