Pseudo Buddha | 3 Months in Fat City

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World: Middle East Contemporary Jazz: Acid Jazz Moods: Type: Instrumental
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3 Months in Fat City

by Pseudo Buddha

Psychedelic, groove driven, acid rock.
Genre: World: Middle East Contemporary
Release Date: 

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1. September 6
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13:11 $0.99
2. October 4
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11:00 $0.99
3. November 1
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32:09 $0.99
4. November 14
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9:29 $0.99
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ABOUT THIS ALBUM


Album Notes
"Fat City" is the fourth in Pseudo Buddha's Hooka Jooka series of live recordings. Culled from four sets and recorded live to two-track with some editing and mastering, but no overdubbing. This disc features a stellar line-up of the band that has been around since April of 2002.
The familiar elements of electronic music, jazz, Indian raga and free improvisation are all there, but overall the sound has shifted towards (non-cliché) rock and slightly away from the long drone passage that have been a Pseudo Buddha trademark.
"Fat City" marks the recorded Buddha introduction of homemade instruments including the Ang-Chang, the Oudcaster as well as the more conventional G3 laptop and soprano sax. It's also the debut of new members John Cortez, on bass. Don Stewart on percussion and Joe Reyes on Oudcaster. You owe your ears the workout.


Reviews


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Deep Art

this CD stand out from the usual spontaneous instrumental album
Pseudo Buddha rides a simple droning "om" laid down by thundering low percussion (and sometimes bass) on the one beat every couple of measures. This basic framework allows the musicians to stay grounded while going off in any direction. The om continues throughout the album with the exception of a few minutes of wispy outer space here and there. 3 Months in Fat City! doesn't present a collection of live documents the way that the previous Hooka-Jooka recordings have; rather the four segments (titled with the dates of the performances) are condensed and combined into one hour-long linear piece. However, I should point out that the music itself is all live, without overdubs, just edited and blended together.

The travel metaphor is overused in reviewing psych jams but this album really does feel like a rail ride through some exotic countryside. There is a consistent momentum adorned with fleeting dramatic wonders and subtly building regional changes. Highly recommended for spacing out.

Richie Unterberger, All Music Guide

instrumental, improvised-sounding, trance-oriented rock music
Pseudo Buddha is a revolving collective that plays instrumental, improvised-sounding, trance-oriented rock music with heavy influences from progressive rock, electronic drone, raga, and some jazz. Formed in San Antonio by Bobdog Catlin (who has played guitar and sitar with Psychic TV, Test Dept., Pigface, and Robert Rich) and Quinn the Nameless Eskimo (who has played bass with the Fearless Iranians from Hell and the Butthole Surfers), they can vary in size from three players to a 13-piece orchestra. Their 2002 CD, 3 Months in Fat City!, was a 65-minute work compiled from four different live sets, edited together in a manner that made it sound like one continuous performance.

Progressor

You'll get into the album, as the music is not only highly intricate, but is als
The clearly perceptible constituents are Space Rock, Jazz-Fusion, Turkic and North Indian Folk and Classical Music, South Indian Raga, Free Jazz, Psychedelic Rock, and some quantity of elements of Space Metal, though 'psychedelics' is usually the essential part of Space Rock. (When talking of Turkic music, which is different from Arabic and Indian ones not so distinctly as from the European one, I don't imply that performing in Turkey's conservatories etc, at least not only. This music is widespread among all the Turkic nations, and there are plenty of them in Asia, including Uzbeks.) Nevertheless, all that stylistic diversity keeps within the framework of Space Fusion or, to be more precise, a highly unique Eastern Space Fusion where the flavors of music of the East are practically throughout. The fluid-like structures with as if flying solos of lap steel and baritone guitars and some other instruments alternate with dense ones. The mysterious spacey (in the best sense of the term) atmospheres change by intensive, richly colored and very colorful arrangements evoking associations with an Eastern market-bazaar. However, the music always remains limpid, which, of course, by no means concerns the quick comprehension of it. I don't know how the Oudcaster and the other homemade instruments used on this recording look, but the album is filled with unique sounds, solos, and overtones: like those of Turkish Saz, Indian Sitar, Uzbek Rubob, and other string and wind instruments, familiar and completely indescribable. Apart from the parts of the aforementioned instruments and the acoustic guitar-like solos, there are lots of those of varied brass, woodwind, hand percussion and other instruments. The arrangements develop constantly without any repetitions of themes or returns to previously performed parts. In fact, there aren't, proper, themes nor anything confined by some compositional framework on this eclectic album. But while most of the solos here are of an improvisational nature, the music sounds like being thoroughly composed and arranged. There is no place for excessive eclectics and randomness on the album, and the overall musical palette of it looks very cohesive despite the constant changes of scenery.

Space Rock

their psychedelic jazz blend is very stimulating
Now I don't whether everyone was really quiet but there's nary a hint of audience hubbub to be heard. Which is odd, for their psychedelic jazz blend is very stimulating. There's hints of the greats - Mahavishnu Orchestra, Grateful Dead - but they have their own eastern influenced slant to the whole thing. If you're looking for a particularly good night then "November 14" is the one to zone out to.

Left Off The Dial

a bridge that holds you up and supports you while the other instruments float an
The percussion creates a driving undercurrent, a bridge that holds you up and supports you while the other instruments float and dance through and above it, interacting with your thoughts and moods. I think it’s the lap steel of Bobdog (founder and force behind the idea) shoved through reverb and a delay effect – and much, much more I presume – that sounds like a sitar and lines the whole album so nicely. He can play. Besides the literal walls of percussion that this collective uses, here’s a sample of some other instruments, as taken from their liner notes: the lap steel, eng/cheng veena, little green flute, Aztec clay flute, soprano sax, toy sax, sawblade, complex software, tangled cords, basses and so much more. This is a talented group of musicians. Each note played and instrument banged fits into place, and nothing is off or over the top. A guitar wails in the distance, and a flute responds to it or an electronic drone bleeds into it. All of it goes into the creation of this endless landscape which washes over and calms the listener.

Ghostland

I found myself digging deeper and liking it more and more
In many respects they’re equal parts spacey psychedelia, mixed with a strong Eastern ethnic progressive tone all wrapped up in a whole lot of meandering at times dissonant trance atmospheres. And at first I found it a challenge to get through the whole hour, there is so much music here that’s so dense. But after a few listens I found myself digging deeper and liking it more and more.

The Dutch Progressive Rock Page

Rhythmically the music draws heavily from Indian and Middle Eastern cultures
We should also mention here the musical influeneces that are encompassed within the tracks. As mentioned above the percussive elements form a large part of the music and along with the 'driving' forces are a multitude of percussion instruments - congas, bongos, tablas, shakers, cabasas etc. Rhythmically the music draws heavily from Indian and Middle Eastern cultures and this is then accentuated by the notation offered by the other instruments - flutes, saxophones, clarinets, bass guitars etc. Combined with the electronic music and heavy ethnic ingredients (notably Indian raga) are smatterings of jazz and what I believe to be called Space-Rock.