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© 2005 Kaarina Luova


LVJCDR016

cd-r, edition of 50
41:38

Seen Through (9:47)
How to Talk (14:38)
Death Don't Have No Mercy (4:35)
Homage to Well-Gone / Namo tassa (12:25)

composed by Keijo
except 3 trad./Reverend Gary Davis

recorded in Jyväskylä and Kuusankoski, Finland 2007–2009
cover picture by Keijo, layout by H. K.

Prices (including postage):
4 € in Finland and EU
6 $ elsewhere


to "Order" page


Keijo's MySpace site
Keijo:
Namo tassa

lvjcdr016 (2010)

Namo tassa,
bhagavato,
arahato,
samma sambuddhasa


Homage to Him,
the Exalted One,
the Worthy One
The Supremely Enlightened One




"Just a glimpse in the window of that tight ride, you wanted a Lexus, but you had to settle for the goddamn Accord. The CD-R is basically the jammers sketchbook, but out an addition of 50, packaged on the decent side and maybe a couple people on the tour will get it. Keijo’s got a lot of releases under his belt and in his native Finland, is a known guy to go for for the weirdness. This CD-R has got a bit of it all, full freak it out over little licks, disjointed crushed songs with supremely weird and mesmerizing vocals that seem to be a mix of some cheap EFX and Keijo’s own throat singing. The disc starts out with two longer type tracks that go between the far end of free jazz, freak folk, and bruises up against free improv, basically a lot of frees. The clique tight crew of Thurston’s Improv Warriors sort of match up to this. Improvisation in no black sense of the word, but also not running away from tonality so quickly. Feedback squall are okay, silence, not so much, keep it squawky mostly. A brief intermission is given and we are treated to a easily constructed freak folk ballad, with the velum and beautiful mucus style lyrics mentioned earlier. Keijo sings “he’ll come to your house, but he won’t stay long” over and over in the same style with slightly different affect, and then a little picked squawk from a banjo or harmonica. The final track Keijo throws it all in mild psych trance style vocals over glimmering percussion hit in and out, used to make textures, not beats. Riffs roll in and out with the lyrics and the tide and the free squawk gets it in deep as well. Each track can roll out of the sketch pad and find itself a proper release, but when and which ones, probably not all, maybe." (Ken Fogjin / Foxy Digitalis)


©2010–2012 Jaakob Karhu