Synth Expressionism/Rhythmic Cubism


Synth Expressionism/Rhythmic Cubism LP from Chicago's Jamal Moss, aka Hieroglyphic Being, is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness. The prolific catalog of Moss's covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On The Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American avant-garde. "Rhythmic Cubism: In this 'Dissertation Of Disorientation' [Neal Andrew Emil Gustafson] temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious 'Rhythmic Cubism', Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity. The disjointed dance of an alternative Black Music, 'The Spiritual or Electromagnetic Worlds' takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion. 'Apocrypha' collages distinct rhythmic source materials in an entrancing abstraction of 'Hypersonic Hemiola'. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry. Evolving into a stuttered off-kilter groove, "The Redemption Project" flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point. Departing with a common-time 'Timbuk2' takes off like a classic Chicago acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from its charted course. The Fragmented fantasy of the Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair." --Neal Andrew Emil Gustafson