Burnt Friedman – Bokoboko

January 01, 1970






a name like Burnt Friedman, its kind of hard not to expect anything less than a
mind altering sonic experience. And as his fourth proper solo LP proves, the
inventive multi-instrumentalist from Coburg, Germany
delivers a head trip for the ages on some of the best work of his near-35 year
career in electronic music.


is a Japanese adjective that means “uneven” or “hollow
sounding”. But considering the vast array of instruments bandied about
across these ten compositions, its logical to assume the meaning behind naming
the album as such is more in the context of the former than the latter of that
definition. There are times on Bokoboko where the one-time member of
such envelope-pushing acts as Drome, Flanger and David Sylvian’s Nine Horses is
joined by a crack team of fellow abstract contemporaries including New Zealand wind man Hayden Chisholm, Cologne
experimental guitarist Joseph Suchy, bassist Daniel Schröter of
Friedman’s ensmeble The Nu Dub Players and Takeshi Nishimoto, who plays a
traditional Indian instrument called a sarod.


But the lion’s share of this
recording belongs to Burnt, who utilizes a vast arsenal of materials, from a
variety of metals and woods for percussion, a rubber band guitar , oil barrels,
steel drums and new and used synthesizers, organs and electric guitars, to
create a seamless oscillation of “bokoboko” rhythms built around
components of dub echos, monophone sequencing, found noises and abstract
melodies routed into pre-programmed basic tracks.


What transpires in the end is
a disjointed pattern of grooves based upon the mathematics of music theory,
utilizing a series of formulas and divisions on compositions like “Deku No
Bo”, “Sendou” and the three-part “Rimuse” that took
Friedman three years to create inside the confines of his Berlin studio. But the results make for a
stunning listening experience that sounds like nothing else in the universe of


DOWNLOAD: “Rimuse 2”, “Deku No Bo”,
“Sendou”, “Rimuse 3” RON HART

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