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Mother Of All Saints (Puppets On A String)

by Eyving Kang / Tashi Dorji

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For EU: www.unrock.de
www.a-musik.com/special/highlight-eyvind-kang-tashi-dorji/kang-eyvind-tashi-dorji-mother-of-all-saints-lp-099126.html

The second twin in Unrock's sub-series of actively anti-western music is an ultra-heavyweight. In the worlds of contemporary global avant-art, composition and improvisation, it reaches new heights. Eyvind Kang (from "Ghost Ghat Tresspass/Sussmeier" Sun City Girls 330,003 Crossdressers From Beyond The Rig Veda among many other collaborations) employs a rarely-heard viola technique. Some may call it plucking art. The viola is played not with a bow, but plucked with the fingers of the right hand, resulting in a completely distinct sound. Eyvind Kang is a master and has reinvented this special technique. Two solo viola tracks (one a cover of an Albert Ayler piece) with melodies of outstanding beauty and fragility develop into perfection. Two additional tracks also feature Indonesian cello player Krusnedi Sukarwanto from Surakarta, and Ghanaian percussionist Yah Amponsah, performing koncrong style. Tashi Dorji, an exceptional guitar playing soul from Bhutan, came through the lower Rhine area and stopped for a recording at Ivory Tower. A soulful afternoon and evening resulted in a relaxed, playful recording showing the skills and talents of Tashi in full. Like its sister release, Sam Shalabi/Alan Bishop & Sam Shalabi's Mother Of All Sinners (UNROCK 007LP, 2016), Mother Of All Saints will be released as a one-time limited run pressing on 140 gram vinyl. Comes in an extra heavy deluxe cover with a solid printed inlay.
-Forced Exposure

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released November 25, 2016

Recorded by Peter Körfer in Krefeld, Germany October 2015

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Tashi Dorji Asheville, North Carolina

Tashi Dorji is a Bhutanese guitarist and improvisational musician known for his avant-garde and experimental (read: deeply gnarly, finely arty) approach to music. Tashi’s idiosyncratic take on the instrument, one defined by movement and profound openness to technique, adds up to a post-colonial disembowlment of guitar traditions. ... more

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