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So this is not the Domino signed Georgia but another Georgia. This time two guys creating world music, jazz and avant funk in one heady brew with guests galore including chief harpist Mary Lattimore. A simple google search would have sorted this out. Let's hope this is the last Georgia with a record out this year or things are going to get very confusing.  

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All Kind Music by Georgia
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9/10 Thomas Spice Customer review, 27th July 2017

H.Matsumoto's singularly odd 2009 film 'Symbol' explores, as one of two seemingly disparate storylines, the plight of the actor-director as he awakes in a sealed room completely devoid of possessions aside from his lurid pyjamas. As the film develops Matsumoto is joined in the room by a bizarre flow of objects ejected from the walls as he presses the tips of the numerous CGI baby phalli that protrude from the walls. Dude Where's My Car this ain't! Yet a concession to conventional narrative exposition comes, a resolve is reached when Matsumoto starts to find a curious harmony between the items and eventually begins to use them in combination to escape from the confines of the room.

"All Kind Music" embodies this spirit of wild combination as self confessed "metaphysical travellers" Brian Close and Justin Tripp fuse a dizzying array of rhythms and styles to facilitate an escape from the confines of generic captivity. Whatsmore a double escape is achieved as the NYC natives use the recorded output of Georgia as a means to exercise musical freedoms away from the strictures imposed by the day job life of Georgia creating film scores and advertising music.

In a 1982 edition of the Southbank a youngish Peter Gabriel gleefully regales about the pioneering work he is doing to fuse the worlds of electronic and non-european rhythms in to the blandified zone of early 80s rock music. Fast forward 25 years to "All Kind Music"and this artful fusion of forth world rhythmic beds to tender electronic composition seems effortless yet when put in context of todays omnivorous zeitgeist this shouldn't be surprising and thus could be considered the theme music for the now generation, traversing the world via their MacBooks, blasé to tracklists that run from Stockhausen to Stormzy. In Wire 398 Tripp attests to this "We're not grounded by any scene or genre...different forces can take Georgia music in different ways". Similarly they do not overly favour real world over electronic instruments, so the palette of sounds in the album exists as a wonderful smudge of sounds where one cannot discern what is from hand or circuit board.

At just a shade over 40 mins the album manages is easily consumed, and thoughtfully programmed. Opener "Petwo, Reality Souf Broker" starts with dusty Arabian instrumentation, lutes undulating tentatively for nearly 2 minutes before glossy neon synths and breathy vocal snippets interject to queer the pitch. "Ahola" continues in a similar vein of mild introversion with a disjointed North African chant cross pollinated with hyperactive electro glitch and a plaintive synth line. "Slow Dance" breaks the line at a speed with rolling jazz breaks and a prod in the chest bass line cohabiting happily with cherry synthetic ornamentation. So the experimentation continues, with midway track "No One Person Can Ever be The Centre" as an apt distillation of Georgia's joyous "y gen" nihilism. They just push the (k)nob and see what comes out the wall.



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