Cape Catastrophe | Percy Jones | Percy Jones

Cape Catastrophe | Percy Jones | Very Creative Middle Eastern Industrial Techno-Funk!

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	Cape Catastrophe Percy Jones Efa Records, 1996 average customer review:based on 2 reviews
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Percy Jones - Bass with character

This album contains some of the most extraordinary bass playing available anywhere. The different tones and sounds that Percy can create on his Wal V frettless bass is amazing. Although I have never really been a big fan of drum machines for they have the ability to make compositions seem redundant (save the miraculous work of the Flecktone's Futureman and his synthaxe drumitar), Percy gives such a complexity to the basses presence with an intermitent balance of synthesizer riffs to keep the listener from being over taken by the digital beat. Songs such as Slick and Barrio can be reminisent of Percy's later work in Brand X, Whereas songs like Tunnels and Thin Line bring a new kind of non funk approach to the Bass instrument.

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Very Creative Middle Eastern Industrial Techno-Funk!

After Brand X dissolved in 1980 or so, fretless bass explorer Percy Jones certainly had much to keep him occupied creatively, whether collaborating with the cream of the crop of NY's downtown avant-garde community, playing on countless recordings by unconventional artists or, even the highly unlikely gig of touring with a highly regimented Japanese pop band for 2 months (he recounts it paid well but nearly drove him crazy). Amongst all this madness, Percy would do the occasional solo show with just some synths, drum machine and his fretless Wal bass in tow. And in 1988-89, he got the opportunity to capture some of that inspired madness in the studio.

The end result, certainly one of the most arresting and hypnotic one-man-band outings that one could hope for. Though one can certainly feast on this for just the bass work alone (Percy just let's 'er rip with lots of beautifully twisted lines and grooves, crazed esperiments with arificial harmonics, stutters, angular melodies, a keen sense of subdividing rhythms and a bass tone that darn near reminds me of an angry growling panther at times), Percy's bass chops never obscure some genuinely unique musical ideas.

Percy's compositional style is uniquely his own, and his awareness of the textural possibilities of synths gets a good workout here, along with creative use of effects and samples. The end result is NOTHING like Brand X at all. Though while having the occasional momentary nod to fusion, Percy embarks into some different territory, incorporating elements of Indian music, funk, industrial and electronica in genuinely arresting ways. Although the drums are entirely programmed (and do sound somewhat dated), he breaks up the grooves and rhythms that would send dancers to the nearest nuthouse.

Percy's keyboard and synth textures are unlike anything I've heard (apparently, he used some relatively inexpensive gear, not necessarily the latest and greatest, forcing him to be VERY resourceful), ranging from jangly to subdued, from pastel-like to cold, threatening and ominous. Adding to some of the sonic textures is one of Percy's pet non-musical interests, ham and short-wave radio (which can be heard weaving in and out of the pieces).

There's quite a variety here (which is very hard to pull off as a one-man-band, something this reviewer can speak from some personal experience with), ranging from the ominous "The Lie" to the epic length "Barrio" (which does take some patience to go through) and the percolating title track are among the highlights.

Definitely recommended for those with adventurous tastes who appreciate innovative fretless bass work and one very twisted muse to frame it with.

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