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Black Sun Ensemble s/t (the Goldfish Record)

released on Reckless Records (1988) Jesus Acedo – guitar; Bridget Keating – violin; Michael Glidewell – bass; John Brett – drums; Robert Brett – percussion Hailing from Tucson, Arizona, their debut for Reckless is a compilation from four independent releases, grandly meshing three years of recording.  Black Sun Ensemble look like a garage-y version of the Three O’Clock and the similarity on songwriters Jesus Acedo of BSE and Michael Quercio of 3:00 may be a comparison article’s material for some less notable rag.  Acedo more than lives up the fellow label mates, for his music is daring and unconventional even if rooted in Sixties psychedelia.  Leaning decidedly toward the mystical side of the Sixties, there are elements present of the Eastern music’s that have only recently been re-incorporated into the music scene.  What makes Black Sun Ensemble’s instrumental work all the more intriguing is the contemporary influences that blend just as fluidly as do the Sixties and Eastern ingredients.  “Sapphire Sky Symphony” has a beginning highly reminiscent of the Feelies’ CRAZY RHYTHMS era, “Raga Del Sol” is a feedback-happy ramble that also has some backward-looping effects that are so subtle and clever, I’m always pointing them out.  “Golden Rays” features Bridget Keating’s violin in stunning counterpoint to Acedo’s delicate and eventually savage guitar.  When Miles Copeland, president of I.R.S. Records, came out with the No Speak label, the gist was to find instrumental music that wasn’t simply music without words.  It is a shame he didn’t find out about Black Sun Ensemble, for here is instrumental music so far beyond words I can only eagerly play this record to death and await with baited breath BSE’s forthcoming release.  – Jack Johnston, Vinyl Propaganda, January 1989 GOLDEN RAYS (Black Sun Ensemble) "For me, my favorite Black Sun song appears here as Golden Rays. I love the Bridget's violin in the begining and the way Mike boxed out the bass part to follow the descending lines.  The middle solo that Jesus takes is one of the clear examples of what makes him so excellent as a guitar player- not only is he moving freely up and down the guitar neck,but his sense of time is absolutely outstanding.  In the guitar fan world, speed is always an attribute that is highly sought after.  Yet, having the speed combined with the restraint and ability to play ahead and behind the beat is where I feel you breach into the realm of a great guitar player.  The last thing that totally knocks me out are the punch ins and outs for the distorted guitar parts at the end section of the song.  Jesus recorded all the clean major parts and then had the engineer punch him in and out to get those great distortion parts.  This is common practice in multitrack recording, what gets me is the great sense of time and near flawlessness of the transitions." -Brian Maloney, sax GOLDEN RAYS (Black Sun Ensemble) "Probably my favorite Black Sun song.  Gorgeous, full of life in all its joy and sadness.  The original Pyknotic version is great in its own right, but Bridget Keating’s violin brings this one into the heights of beauty, not to mention Jesus’ truly moving leads.  And then the whole thing breaks down at the end, and you remember that it’s just a crew of Tucson kids in a recording studio." -Otto Terrorist, drummer DOVE OF THE DESERT (Black Sun Ensemble) "I remember Jesus saying that Dove of the Desert was his 'signature-song,' and that he had taken the melody from Yardbirds song.  It is always a moment in time when we play it, this version on the Goldfish record, is truly both haunting and beautiful at the same time.  Just like the desert itself." -Eric Johnson, bassist

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