In the early 20th century, companies such as Columbia and Victor courted the millions of European immigrants who had recently arrived on American shores, including many Yiddish-speaking Eastern European Jews. In search of new markets for both record players and record players, these labels made hundreds of recordings for cantors, klezmer troupes, and residents of New York’s Yiddish Theater District. A century later, many of these records can be found in the legendary world of music Alan LomaxSponsored by Guitarist in Kentucky Nathan Salsburg. Landwerk No. 3 is the third album in the haunting, droll-like, fast-paced Salzburg series on which he plays alongside loops of Yiddish recordings. It’s a macabre project with a specifically American Jewish angle, allowing Salzburg to open a dialogue with an ancient fountain of Yiddishkit.
All samples on Landwerk No. 3 It was obtained from Jewish artists who performed and recorded in New York City in the first half of the 20th century. However, listeners who come off without any context would be forgiven for placing the event a few thousand miles west in Monument Valley or the Mojave Desert. Salsberg’s guitar, which he used to explore forms of blues and American folk previous albumshas the same resonance and melancholy as country musicians, spaghetti western soundtrack maestros, and contemporary American abstractionists like North Amarica And SUSS They used to suggest the sunny expanse of the American West. Salzburg Point made Not using blues recordings for the project, but the sounds he makes and the scales he plays on his guitar are paying nonetheless Landwerk No. 3 towards the type.
Landwerk No. 3 It includes more hardware than previous installments while allowing the samples to breathe more. Salsburg strikes that balance with run times that flirt with or exceed the 10-minute mark. With six tracks in just over an hour, Landwerk No. 3 Almost as good as both of its predecessors combined, and a lot of extra time is spent simply letting the vinyl crackle and sampler loop. In the “ninth”, a sample of Cantor Meyer Kanewski It amounts to little more than a faint, ghostly swell, and at first it feels as if Salzburg simply duets with a constant. 18 Minute Closer “XIV” keeps his guitar on the bench for most of its runtime, and opens with a subdued percussive sample from a Yiddish theater pioneer Abe Ellstein“Mazel Tov” and a sad chord progression played on the organ. “XII” is based on a spooky piano sample from Jacob Silbertanother star of the New York Yiddish scene, Salsberg is correctly confident that the sample is interesting enough to benefit only from the occasional guitar filigree.
In addition to Jewish music and Salzburg’s main line in American roots music, Landwerk No. 3 Also inspired by Leland Kirby‘s admin Project, where the decay of vinyl records plays a role in the deterioration of human cognitive functions. In order to create music that seemed to spring from the distant past, Kirby and contemporaries such as Christian MarclayAnd Janek SchaeferAnd the late Philip Jake Blurring the boundaries between what was sampled and what was replaced. on me Landwerk No. 3, These nuances are most noticeable, with the original polish of guitars and pianos emphasizing the temporal distance from muddy vinyl loops. Because of this contrast, the process is inseparable from music, and Landwerk No. 3 Never pass the image of a man who plays by his records. The best experimental spinner can make the listener feel as if a ghost has entered the room. listen to Landwerk It’s like eavesdropping on someone else’s hearing, but fortunately, these spirits have a lot to tell us.
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