Think of what Ed Alleyne Johnson did with his custom built, purple electric violin … put that to the corner of your mind and now create an image in your head of a bass-happy solo artist. Are you there?
Not quite. Well get ready for The Rhys Anslow Project. Rhys is an experimentalist who layers his music with different effects … how many bassists can you say do that eh? Let me not exaggerate in terms of style or technique. There are not many ‘background distractions’ for want of a better word to any of these tracks and the result of such compositions make it sparse for any commercial appeal. Yet it is that very essence of non-commercial appeal, that very panned out proposition that holds delights for each arrangement and lacks nothing.
There is a definite ‘live feel’ to the album and a wantonness of texture, tone and colour.
In the sum of its parts, this album may sound clumsy, but I’m not sure if this is not a conscious concept used by Rhys to create that certain warm atmosphere check out Two Minutes Hate or Emily.
This album is a very brave effort and has its own seductiveness. This is not for the masses. There is not much in the way of melody although Epitaph cleverly creates a resonance. On the whole as a mostly concordant product it is vital to remember that there are whole genres of music that are non-melodious but successful.
For the daring musicians out there, this album is a prodigious relief and one that can be relied on for inspiration. For the more tweed amongst us I still suggest dipping your toes into the unfamiliar.
1 - Night on Wine Street
2 - Two Minutes Hate
3 - Epitaph
4 - Behind Closed Doors
5 - Emily
6 - Thank You (live recording)
7 - Acid Dance
8 - Funk Dunk
9 - Just sit back and relax
10 - Breathe Easy
Lisa Kalloo flew into radio and television journalism shortly after her degree with law at Holborn Law College, University of London and then Masters at University of Wolverhampton.
Deciding the legal sphere was way too starchy for her artistic tastes and critical outlet she moved into frontiers that enabled her to channel her energy into more energising pursuits working for Network 5 TV and then the Wolverhampton and Dudley Journal. In between these jaunts she worked with a number of musicians both solo and collaborative projects as well as jungle and drum n bass DJs, artists, sound engineers, producers and promoters. Coming from a rock background the digital and analogue shades were relished by her colleagues.
She developed a taste for writing at a very early age and was encouraged to understand the technical hardware world by an eccentric Sufi. Spurred by his poetic pessimism she engaged herself in the digital world of writing and reviewing in car entertainment devices and other gadgetries for carcomputer.co.uk and later writing industrial technical specs for Lilliput UK.
Deeply desirous for pastures, new though familiar, she moved back to London having been in the wilderness of Wolverhampton for way too long. She fell into the publishing world working for Hotcourses UK for a few years.
Feeling the need to stretch herself further she embarked on a number of freelance projects and came to Somojo Magazine with a plan… To put the critique back into music! To shake that blanket of dust that gives complacency a jolt and fires commitment back to musical honesty and comment.
Music and techy stuff is definitely the stuff that gives our Lisa her MOJO. It is sooooo her mojo.
She has transformed like a butterfly from geek chic to music freak combining her two loves to produce a fetish harmony that makes most people smile.
When she’s ‘without headphones’ she’ll be smoking a Cuban and chilling with her audiophile, foody and film buds.