On their sixth album Sasquatch Landslide, Dwarfs of East Agouza get everything crawling again. As if the trio of Alan Bishop, Sam Shalabi, and Maurice Louca weren’t wild enough already, this time Bigfoot and double mothers join the conceptual ride: total defocus. The furry snow creature, captured in a blurry photograph. The final unraveling of the visual field.
What you mostly get are (electronic) percussions – the only thing to hold on to, the only stones left unturned. Around them, layers of instruments swirl into a thousand tangles, stumble apart, scatter in all directions. Shalabi’s nervous electric guitar sounds like he plays it every morning after his third espresso—just before heading to the bathroom. Louca extracts chaotic prophecies from his synth: long treks, Middle Eastern bazaars. And Bishop roams around with his saxophone, as if in smoke-filled free jazz bars frequented by hard-drinking gnomes.
That’s exactly why we love Dwarfs of East Agouza. No note here ever gets boring. This is music made from fully activated cells. Unpredictable, intricate, vital.
