"Concept Bongo"'s completely minimal logic is not exhausted in the fact that it is an album that is only played with bongos. Because beyond this conception, the music we find in its thirty minutes is characterized by a mystagogic feeling which, through an abstracted and repetitive ambience, keeps you totally transfixed, marginally helpless to react to it. References to the musical culture of the percussion instruments are stimuli left to the listener's own discretion: you can understand "Concept Bongo" as raw material for spiritual escapees, study it as pure improvisation or regard it as an exercise on style, even. Anla Courtis has studied classical guitar, piano, theory and composition, but here he plays the role of the abstract percussionist, with all the rhythmic liberties of a contemporary improviser. "Concept Bongo" is like one of Zeitkratzer's dreams for the organic performance of electronic music, with Pauline Oliveiros' spirit being unable to escape the studio. And now I know what I will be listening to after Jon Mueller's "Metals" or Paal Nilsen-Love's "Cut and Bleed".
Anla Courtis is a key figure of contemporary avant garde. He began in 1993 in Buenos Aires, co-creating Reynols, an experimental band in which he played the electric guitar, with which he released more than 100 vinyls and cassettes. A small number compared to the huge volume of his personal releases, as well as his collaborations with over two hundred artists of the experimental sound.
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt