Afroskull – Monster For The Masses
Label: Afroskull/Secret Ninja Records
http://www.afroskull.com/
1. The Attack
2. Kill Whitey
3. Layers
4. The Obstacle Course
5. Curiosity
6. Radio Alert
7. IT
8. Space Chicken
9. Television Intermission
10. Eat This
11. Theme From Afroskull
12. Beefcake
Bio von Progarchives:
Afroskull biography
Afroskull is a New York City funk/rock collective by way of New Orleans, the 'Skull is a sonic gumbo that is one part Funkadelic and one part Black Sabbath with generous helpings of Zappaesque runs and jazzoid horns. The interplay of their heady musicianship and fat bottomed grooves helps to keep les bon temps rouler all night long.
Born of saintly happenstance and house party jam sessions in The Big Easy, Afroskull has been intent on setting about the musical canvas with broad strokes and a menacing palette for more then a decade. Indulging in the sweet cross pollination of musical genres, they have created a hybrid sound they can call their very own. Taking their name from the perceived halo, that well worn LP fade, which framed the shrouded skull on the back cover of 'Steppenwolf Live,' the band, in one word conceived a moniker that spoke to the heavy boogies they were cranking out on a regular basis.
Their early musical endeavors and growing reputation in and around New Orleans led the band; Joe Scatassa (guitar), Bill Richards (bass), Matt Barone (keyboards), Jason Isaac (drums) and a cadre of horn players, into the studio to cut their first album. Monster for the Masses, released in 2000, was received to critical praise. Although commercial success proved more elusive, the band's stature, backed by their solid studio effort and high-powered shows, continued to grow even as they dealt with a multitude of changes.
Following band member departures, a brief hiatus, and a move back home to New York, Joe and Jason reconstituted Afroskull. With The Big Apple their backdrop and joined by Matt Iselin (keyboards), Dan Asher (bass) and Seth Moutal (percussion) the band was born anew, but with that same genre eschewing bend. Their live shows, a laboratory for their shifting provocative sound, were further enhanced by the solidification of the 'Horns of Doom'.
Jeff Pierce (trumpet), Justin Flynn (tenor sax) and Rafi Malkiel (trombone) emerged from a rotating cast of horn players equipped with an individual swagger but firmly committed to the group dynamic. Tempted by their small yet loyal following and convinced by Joe's intricate spiraling compositions Afroskull once again made for the studio.
The result, To Obscurity and Beyond, their first album in nine years, is a tempestuous marriage of rock, funk and jazz. Dripping with ecstatic elaborate arrangements, Joe Scatassa's production and original compositions are hell bent.
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@Charly, da hast Du voll in’ s Schwarze getroffen, Danke sehr.
Label: Afroskull/Secret Ninja Records
http://www.afroskull.com/
1. The Attack
2. Kill Whitey
3. Layers
4. The Obstacle Course
5. Curiosity
6. Radio Alert
7. IT
8. Space Chicken
9. Television Intermission
10. Eat This
11. Theme From Afroskull
12. Beefcake
Bio von Progarchives:
Afroskull biography
Afroskull is a New York City funk/rock collective by way of New Orleans, the 'Skull is a sonic gumbo that is one part Funkadelic and one part Black Sabbath with generous helpings of Zappaesque runs and jazzoid horns. The interplay of their heady musicianship and fat bottomed grooves helps to keep les bon temps rouler all night long.
Born of saintly happenstance and house party jam sessions in The Big Easy, Afroskull has been intent on setting about the musical canvas with broad strokes and a menacing palette for more then a decade. Indulging in the sweet cross pollination of musical genres, they have created a hybrid sound they can call their very own. Taking their name from the perceived halo, that well worn LP fade, which framed the shrouded skull on the back cover of 'Steppenwolf Live,' the band, in one word conceived a moniker that spoke to the heavy boogies they were cranking out on a regular basis.
Their early musical endeavors and growing reputation in and around New Orleans led the band; Joe Scatassa (guitar), Bill Richards (bass), Matt Barone (keyboards), Jason Isaac (drums) and a cadre of horn players, into the studio to cut their first album. Monster for the Masses, released in 2000, was received to critical praise. Although commercial success proved more elusive, the band's stature, backed by their solid studio effort and high-powered shows, continued to grow even as they dealt with a multitude of changes.
Following band member departures, a brief hiatus, and a move back home to New York, Joe and Jason reconstituted Afroskull. With The Big Apple their backdrop and joined by Matt Iselin (keyboards), Dan Asher (bass) and Seth Moutal (percussion) the band was born anew, but with that same genre eschewing bend. Their live shows, a laboratory for their shifting provocative sound, were further enhanced by the solidification of the 'Horns of Doom'.
Jeff Pierce (trumpet), Justin Flynn (tenor sax) and Rafi Malkiel (trombone) emerged from a rotating cast of horn players equipped with an individual swagger but firmly committed to the group dynamic. Tempted by their small yet loyal following and convinced by Joe's intricate spiraling compositions Afroskull once again made for the studio.
The result, To Obscurity and Beyond, their first album in nine years, is a tempestuous marriage of rock, funk and jazz. Dripping with ecstatic elaborate arrangements, Joe Scatassa's production and original compositions are hell bent.
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Nun liegt mir dank Charly auch ihr Debüt vor und was soll ich sagen, wie auch das Folgewerk gibt es hier richtig etwas auf die Ohren. Es jazzt, rockt, funkt und groovet sensationell. Die Stücke haben im Schnitt 7 Minuten und bieten den Musikern ausreichend Raum sich richtig auszutoben. Anders als beim Nachfolger gibt es hier mehr Breaks, Bläserattacken und harte Riffs der Gitarren; auch sind die Solis, egal ob von der Gitarre, Hammond oder Fender Rhodes punktueller gespielt ohne dabei an Überraschungen oder Frische zu verlieren. Mir ist es schleierhaft das die Band gänzlich unbekannt scheint und außer FreakCha und mir die Truppe niemand kennt.
Tower Of Power sind hier gegen eine Seniorentruppe. Mich erinnert Afroskull an die guten Zeiten von CTA. Ich muss nicht auf spezielle Titel eingehen, da alle durch die Bank überirdisch gut sind. Diese CD müsste auch die in den 70er Jahre klebenden aufrütteln.
Höchstpunktzahl für die Musik, klanglich kann ich nur über meinen kleinen Kopfhörer bewerten, aber da kommt die Musik druckvoll daher, also gehe ich von 13/15 Punkten aus.
@Charly, da hast Du voll in’ s Schwarze getroffen, Danke sehr.