about the record
On Rimarimba’s 1985 album In The Woods, Robert Cox has made his music kit, an odd assortment of new and old technologies, lately fixated on the digital delay, and programming technologies, sing his own song at its most articulate clip. The songs seem more developed, fluent, like mini-suites in some sense.
By his third album, it’s clear Cox has recognised just how liberating technology can be – “All these intricate layers of things that I was trying to play, and didn’t have the musical ability to play, I could suddenly program them” – but he also recognises that if you head too far down that road, dull perfection is your bitter reward.
Human music intoxicated and lurching through a new forest of machinery.
- A1 - Spafft Moutafft Seeall + California 4:36
- A2 - In The Can 0:34
- A3 - Firedance 0:09
- A4 - Bamboo Link 2:59
- A5 - Couldn't Top The Demo 0:47
- A6 - California + Saxes 2:38
- A7 - Clearview 2:11
- A8 - California + Bell 3:25
- A9 - Gone To Hell In An Even Smaller Bucket 3:12
- A10 - xit 1:16
- A11 - He's A Good Lad 2:38
- B1 - Pacific 3:12
- B2 - From 6 To 13 2:26
- B3 - California + Guitars 1:03
- B4 - Fitall Wall 1:56
- B5 - Gone To Hell In The Smallest Bucket Of All 4:39
- B6 - Few Parameters 1:11
- B7 - Bamboo Duck 4:51
€23,00
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- A1 - Spafft Moutafft Seeall + California 4:36
- A2 - In The Can 0:34
- A3 - Firedance 0:09
- A4 - Bamboo Link 2:59
- A5 - Couldn't Top The Demo 0:47
- A6 - California + Saxes 2:38
- A7 - Clearview 2:11
- A8 - California + Bell 3:25
- A9 - Gone To Hell In An Even Smaller Bucket 3:12
- A10 - xit 1:16
- A11 - He's A Good Lad 2:38
- B1 - Pacific 3:12
- B2 - From 6 To 13 2:26
- B3 - California + Guitars 1:03
- B4 - Fitall Wall 1:56
- B5 - Gone To Hell In The Smallest Bucket Of All 4:39
- B6 - Few Parameters 1:11
- B7 - Bamboo Duck 4:51
about the record
On Rimarimba’s 1985 album In The Woods, Robert Cox has made his music kit, an odd assortment of new and old technologies, lately fixated on the digital delay, and programming technologies, sing his own song at its most articulate clip. The songs seem more developed, fluent, like mini-suites in some sense.
By his third album, it’s clear Cox has recognised just how liberating technology can be – “All these intricate layers of things that I was trying to play, and didn’t have the musical ability to play, I could suddenly program them” – but he also recognises that if you head too far down that road, dull perfection is your bitter reward.
Human music intoxicated and lurching through a new forest of machinery.
