Of the handful of varying styles Santana recorded during his career, none reflects his nomadic musical exploration better than his 1974 collaborative LP with Alice Coltrane, Illuminations. The two came together very much due to Santana’s preoccupation with jazz, but both shared a common vision of expressing their spirituality through music. Coltrane’s musical path had been colored by spiritual exploration. She had explored Eastern spirituality and its music with her husband John Coltrane before carving out her own catalog of forward-thinking jazz. Santana’s own musical path also began in the San Francisco’s Mission District in the late 1960s – ground zero for free love and recreational drug use. The resulting record is as strange and fascinating as the pairing would suggest, although Illuminations fits better within Coltrane’s varied catalogue. By the mid-1970s, Coltrane had already released a number of free-form records that married avant-garde jazz, gospel, blues and devotional Hindu music. For Santana, it’s a work that was completely incomparable to anything else he had ever done. None of his previous releases hinted at the improvisational release that was to follow. Illuminations is the deepest Santana would ever delve into the world of jazz. Santana explained years later in Rolling Stone magazine, “This shit is not for me, I don’t care how enlightening it is.”
Industrial, Power Electronics, Noise, Power Violence, Experimental; Limited Edition Vinyl LP - Ex Used Condition
On this split the Finnish Sadio (a collaborative project between Grunt and Skin-Graft) have teamed up with the Italian Caligula031 (side project of Wertham main man Marco Deplano), and is ultimately a release which sits at the depraved and nastiest end of power electronics. Sadio take on Side A with 3 tracks of ‘basement torture’ electronics which are even less structured than those on the debut album Sophisticated Methods In Torture (…which itself was an exercise in direct aggression over detailed or meticulous studio recording). With more similarity than difference across the first two pieces Inhale the Animal Filth and Slavemarket, the result is absolutely rough, raw and ripping. Here the sound, whilst having a solid lower end, is more prominent at the mid to high spectrum with overblown and hollowed out tones, barely controlled feedback squalls and occasional barked vocals rising to the surface. The clear impression is the material has perhaps been recorded live in studio, with recording levels being max’ed out in the red, and followed with limited (if any) post production. The third and final track Innocent And Pure then shows a fair bit more restraint and opts for a slow building atmospheric cut of sweeping and fluttering mid tones and bulked out with heavier bass rumble and with the late track murky vocals being vomited somewhere off in the distance of a cavernous warehouse. Caligula031 then encompasses a voyeur’s ‘sleaze perspective’ on Side B (4 tracks and around 20 minutes of material), which thematically focus on heroin addition and the depravity of the ‘fix’ lifestyle. Needle Park – Platzspitz 1990 is the opening piece of extremely murky, idling machine clatter to set a general mood of stasis, thus leaving ample room for the forceful vocal torrent to remain prominently throughout. Following on Nothing Comes For Free is excellent for its minimalism which is constructed with two sustained but counteracting tones (…one needling texture and the other at the mid to lower end), which allows Marco’s heavily Italian accent vocals to sit front and centre within the track. Sponge of the Sidewalk follows and is framed around subdued bass rumble and dialogue sample referencing addiction, prostitution and criminality (…which appears to have been lifted from a UK talk show), while Sob Story is the final of four tracks and is another piece of hollow mid-toned textures and heavily processed vocals. Packaging is noteworthy for its simple white sleeve and sticker, which has been further ‘augmented’ with flecks, drips and spatters of real blood, while a double sided insert includes further thematic imagery. Clearly a release for those knowing exactly what they are in for, and not for the squeamish or ‘scene tourist’ types, thus with its limitation of 250 copies this would be sufficient for this nasty and no-frills release to find its intended audience. - NOISE RECEPTOR JOURNAL