discography

Cover images link to mp3 downloads on archive.org where available.

Pesi Lao (2014)

pesi2small“Pesi Lao, where are your people now?”

Lao had been considering this problem for some weeks in the only way she knew. She walked the alleyways of her side of Nova Grendoza, keeping a careful account of the discarded empty beer cans, and bottles but mostly cans, that she found either crumpled amongst the leaf litter or hung in carrier bags, blue of black in colour, from railings and broken tree branches.

She sounded the subways for evidence: the tags on the damp walls, a big metal door halfway down the subway unlocked and waiting for the unwary, the ubiquitous fisheye mirrors at each entrance.


Arrivederci (2014)

arrivederci2You might know Zali Krishna for his schlager crossover hit Windmills of Amsterdam, or perhaps for his acclaimed soundtrack to Miyazaki High School, but here are a few things that you might not know about Zali Krishna:

* For many years Krishna was a professional golf coach to the likes of David Niven and Jack Palance.

* In his spare time he buys up patents for some of the key inventions of the twentieth century. Amongst his collection are the Corby Trouser Press and the IBM 3340, better known as The Winchester hard disk unit.

* His first job in the music industry was as a page turner to the legendary Acker Bilk. Bilk described Krishna as “indispensible” and “a good lad”.


Skyship Abalone (2013)

abalone1Recorded in Hoxton 2013. Skyship Abalone was mostly instrumental, featuring a bevy of new and old techniques including a lot of Suzuki Q Chord. The exception to the instrumental rule, Str8 to Video, is a power ballad transcribed directly from a dream featuring what appears to be a libertarian, Heinleinesque alter ego. I shit you not.

 

 


7921751764_96237eeaa7_oBremsstrahlung Sommerwind (2012)

Five kilometers out of Sommerwind the topography of the land is pulled into a series of ogive canyons, exagerrated into chevrons as they reach the escarpment of the Great Western Fault. On a sunny day, if you follow the ridge as far as Alium, a chain of inland lakes is visible opening and closing across the purple plains like a set of callipers or helices.

Over longer periods of tectonic time, over aeons wider than those described by civilisations or cultures, the pressures that wrench this land into plump blisters and gaudy crystalline fissures flickering with the kinetoscope of extended solar seasons, make the musculature of the continent elastic and contingent.


7596413878_1def6e7c21_oKingfisher Blue (2012)

Recorded from March to July 2012, Kingfisher Blue is not a concept album.

Recorded in Hoxton London, Kingfisher Blue is not a psychogeographical artifact.

Kingfisher Blue consists of twelve tracks and runs for a little over thirty-five minutes. This much should be easy to say about its extension on the time axis. However, it is arguable that several of the tracks consist of more than one musical or conceptual object bolted together, and for all of their apparent unity when projected from two speakers (two tracks or one, a single entity or a siamese twin?) they were usually recorded at different times separated by months or days or hours or minutes…


6981688401_c8cd0a809e_oAny Colour You Like As Long As It’s Beige (2011)

By the end of 2011 Zali Krishna was musically bankrupt. The last twenty odd years that had seen dabblings with electronica, post-pub-rock, proggazing, modal skiffle and the like had left his paltry offerings badly bent out of shape. The more pretentious observers would throw around hybridity, melange, pastiche and other apologia in his defence, but even they were having to admit that none of these critical Band Aids would prevent the balloon from imminent deflation…


6835562884_94b9d4c539_oGalactic Emperor Blues (2011)

“Mr Elson?” I opened the front door to a crumpled man in an old overcoat.

“Peter Elson,” he corrected me with an emphasis on the first name, as if to draw attention to some significance that I didn’t recognise, “I’ve brought the merchandise,” he indicated the Waitrose bag-for-life.

“Come in, come in!” I led him into the living room.

“Nice view,” he said taking in a sweep of East London new builds and unfinished high rises out of the patio doors, “how do you think they get the cranes onto the tops of the blocks?”

“I’ve no idea,” I confessed.


6981688269_a37003eed4_o5 Dances For Luth & Hautbois (2011)

The room is cool, panelled in dark wood with an odor of polish disguising a mustiness of age. It is a hot day outside. Morning, and the city is already busy about its quotidien rounds in the dazzling sun.

Perhaps you woke early with no real sense of dislocation to find your way to the breakfast room on the second floor. A selection of items from the buffet, indifferent coffee and juice, accompanied by a muted babble of polyglot conversation. It is still some hours until lunchtime and already you have crossed the broad brown river on one of the great stone bridges that carry tourists and their dollars across to the heights of the castle.


6981688119_daae5f40cc_oAeroville (2011)

In 1919 Herbert Matthews, the company architect for aviation pioneer Claude Grahame-White, built a quadrangle of neo-Georgian houses in Colindale near Hendon, North London, to provide accommodation for his employees.

The estate was called Aeroville. 

This is not their story.


6835562752_891db59d88_oSt Eia (2010)

In the art of St Ives, as in its landscape, we experience continuities between internal and external; air, sea and land. Divisions are soft or absent. Perhaps it is more accurate to say that they are lines of movement rather than borderlines. We see this in the continuum of Patrick Heron’s Harbour Window with Two Figures, the hollows of Barbara Hepworth’s fugues, or in the found cardboard canvases of Alfred Wallis. But we also see it where the weather station appears unexpectedly at the end of a street or above a restaurant. Where through a hole or nook we spy the ocean, and there again behind us, as if we were on an island.


6981688017_c325e64ef7_oUpon These Might We Brunch (2009)

Krishna looks up from a small madiera with an expression of punchable unflappability, “what can I tell you about the new album? Well, I don’t know. It’s about fifty one minutes long,” he chuckles, “my little joke!”

Here in his headquarters in Golders Green, ornamented richly with rarest jades and marbles, the man who likes to call himself Krishna cuts a paltry figure: five-eight, barely eight stone, unshaven for a month, sporting an Imperial shooting jacket and silk burgundy longyi, he pulls thoughtfully at a Gitane and defers to his accomplice, servant and familiar, Solomon Kirchner. “What do you reckon, Slomo? What’s it all about, eh?”


6981687967_ebca7ea25c_oRoyal Free Electric II (2009)

Following on from 2003′s Royal Free Electric EP, the sequel returns from the deep space motorisms of its predecessor to the tangled jungle of the archetype. From the lofty arbours of the opening tripartite opus that is Notre Dame des Anges, through the feral darkness of Anthropologie Domine, and the modal upanishad of Krishnamurthi in Excelsis, the music breaks cover for the crowds and gaudy neon buzz of Wenceslas Square Non-Stop.

The purple shadows are full of ancestral fetishes: Jarre, Jung, Faure, Levi Strauss, Vangelis, Gurdjieff, Stockhausen, Druillet, Vander. In the eerie starlight they contort and transform into something other, other, other…


6835562416_75a93996b3_oNand Gate (2008)

 The most recent episode of the Entropy Circus saga. Three years in the making this album was informed by extensive gigging solo, as the Entropy Circus live band, as Raagnagrok, Oort and the Stellamarisdroneorchestra.

Track 10 features Richard Guest on fretless guitar and Track 14 features Mark Pilkington on electronics.


6981687799_d8500c2781_oSkillzy Krishna & The Vorticist Bar Combo (2004)

An inbetween album of experiments and revisions – that’s not to say that I don’t like it – it’s just something of a problem child. Two tracks called Headkicker 2004 (pts 1 & 2) are reworkings of Headkickers Revival Church on the previous album, and have been played on Resonance FM. There is also a new version of Piece O Shit, a favourite track from 1998.

But there’s lots of new material too: Lord of the Air – an unlikely graft of Sabbath and Can, Raga Jalfrezi – which resembles my current solo set in some manner and appeared on a Guinea Pig compilation in early 2004, and many many more…


6835562290_f6907bc364_oRoyal Free Electric (2003)

Three track EP recorded November 2003 at Telefonecomplex Studio E17 by Z.J.Krishna.

Some of the most overtly Krautrock inspired material in the Krishna canon.

Most of these tracks were played at one time or another on the Kosmische programme on Resonance FM.


6835562204_76cb90df11_o…Presents Stella Maris (2003)

Stella Maris is the umpteenth release from Zali Krishna’s Entropy Circus project. Analog death-disco metal-fusions meet spy movie multi-headed bossa motorisms while a dervish sky of arcing Teutonic guitar falls headlong into the LFO filtered dark night of the soul.

Recorded at Telephonecomplex Studio E17 in 2003.


6835562158_ecb63f48e1_oStella Maris EP (2003)

“stella maris is catholic raga space music from walthamstow – guitars, analogs, tablas and a shitload of drones…”

This two track EP from March 2003 accidentally brought about The Stella Maris Drone Orchestra, and the chaos that ensued from that ensemble. Which is strange because this is a pair of relaxed gliding dronescapes inspired by a Sunday in Hastings.


6835562022_d888a75e02_op00 (2001)

Recorded and mixed 2001 at Telephonecomplex Studio E17.

Cover artwork by David Lloyd.

The Media’s Darling is a cover version of a track by Zebulldada. Massy Palaiseau has been played on the Kosmische programme on Resonance FM.


6835561900_18f12a4107_oFritware Painted With Lustre (2001)

“the benelux circus is the bastard hybrid of the found sound atmospherics & industrial jazz of the entropy circus and the quirky pop troubadourisms of the benelux.”

Fritware Painted with Lustre was recorded in 2001 at my second Walthamstow flat opposite the police station in Forest Road. It has developed out of the singer-songwriter ethic of the earlier CD and incorporated more soundscaping. Toiletries has been played on the Kosmische programme on Resonance FM and Rocket Assed Fly has been played on Ian Price’s The Lighthouse programme. I hope to put more mp3s from this album up soon.


6835561790_9ce730161c_oQuails Are Given (2000)

Recorded in the early part of 2001 on a second-hand Fostex eight-track reel-to-reel, it was a learning experience and it was great fun. The Benelux was an attempt to break out of the straitjacket of the Entropy Circus by recording a CD of three minute pop songs, or so they seemed at the time.

“Out of the disintegrating fragments of The Entropy Circus. Out of the decade long debate with structure, form and coherence.Out of the Warner flats and reservoirs of Walthamstow comes The Benelux, as if fully formed: crooning, pouting and gibbering for all they are worth on a new, shiney and allegedly listenable 14 track album…”

Pizza & Beer appeared on volume two of the Moving On compilation. The Goodbye Song was originally part of Phil Turnbull’s electronic cabaret act No Night Sweats.


6835561736_316970dc8d_oHoog (2000)

“the last part of the entropy circus project.  again fewer songs but a richer sound and the introduction of harmoiums, reed-organs and the mark two hoog synthesiser.  brings many of the divergent currents of the entropy circus together and leaves them weeping on a beach beneath a distant sun. band disputes and musical differences split the entropy circus into warring factions and into a dark fissure from which there can be no return.”

Naturally there was a return but that apocalyptic Y2K vibe had infected this CD. It’s a good CD too. It was originally intended as an excuse to gather together all of my remaining four track material. I still rather like a lot of this stuff. Villejuif Metro Song has been played on Ian Price’s The Lighthouse radio programme.


6835561680_8109c185fd_oPaddington Hardstare (1999)

Recorded when I first moved back to Walthamstow in 1998. Very much in the psychogeographical camp at the time – I was writing pieces for Rob Marsden’s Parasol Post zine where the flying Zali-Paddington image first appeared.

“harking back to the guitar sound (but mostly played on a spanking new danelectro!) of the v3.0 tape and reintroducing the lovely casio rz-1 drumbox. more instrumental than the the goats & the peacock and featuring a more intensive use of the found sound technique. between the opener reconstructing home and the final piece of shit the disk(tape) chronicles the birth, life and death of a flat from moving in to moving out. perhaps a little slim in comparison with the goats but has an increasingly melodic sound. mixed and mastered at forest road.”


6981686947_47b9721b78_oThe Goats & The Peacock (1998)

“two years in the making, the goats and the peacock had a difficult childhood. materials gleaned from several bouts of recording and rejecting, the split up of a long-time relationship and the infamous dunsmure road sunday jams. contains a much greater proportion of songs and words than anything since the v1.0 tape. also important to the recording of this tape was the introduction of a 12-string guitar (often i actually had eleven strings!) and the use of found sounds on some of the more atmospheric pieces. the final product wasn’t actually mixed until i moved into my own flat in blackhorse lane. where do we go from here?”


6981686845_5ce3414890_oEmbroiderystitchaircraftwing (1997)

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6981686907_cbd2883e47_oMonorail v9.0 (1996)

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6981686767_6ed2518e1c_oMetrognomon v8.0 (1996)

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6981686685_e180537d19_oKeystations v7.0 (1995)

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6981686597_8b18b8d8fc_oVitreous Enamel Development Corporation v6.0 (1995)

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6981686455_0a6cedf438_ov5.0 (1994)

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6981686305_41430121cc_oDefenestration v4.0 (1994)

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6835560738_acbe2c9783_oStructures v3.0 (1993)

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6981685953_be1355b1f2_oSome Principles of Sublight Speed Astrogation v2.1 (1992)

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6835560464_a447e38340_oAnalog Digital Interface v1.0 (1991)

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Entropy Circus 1 (1989/1990)

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