Fourth World, Vol. 2: Dream Theory in Malaya (CD)

Tennessean composer/trumpeter Jon Hassell was in the forefront of minimalism, having played with both Terry Riley and La Monte Young. Influenced by their ideas, he took them to the next level, combining ambient sound with world music for a unique fusion of the futuristic and the "primitive" sound that he eventually dubbed "fourth world music." Intrigued by Hassell's work, Brian Eno sought him out for some seminal collaborations, also bringing him into his other projects such as Talking Heads' REMAIN IN LIGHT, and trading heavily in Hassell's style for his 1981 album with David Byrne MY LIFE IN THE BUSH OF GHOSTS. Hassell went on to further explore his unique paradigm of electronics, experimentalism, and folkloric tradition throughout the subsequent decades.

• Category:  Music  »  Rock & Pop  »  Experimental Rock
• Format: CD   Learn more about the CD format using Tower WIKI.
• Release Date: October 23, 1990
• Label: Editions E.G. Records
• UPC: 017046157124
• WAPI (Tower ID): 106631919
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• Tower.com Sales Rank: #61317 in Music (See Top 100 Music Bestsellers)
• #19405 in Rock & Pop (See Top 100 Rock & Pop Bestsellers)
• #229 in Experimental Rock (See Top 100 Experimental Rock Bestsellers)

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Personnel includes: Jon Hassell (trumpet, pottery drums); Michael Brook (bass); Walter DeMaia (drums); Brian Eno (drums, bowl gongs, bells); Miguel Frasconi (bowl gongs); Daniel Lanois.

Volume One of Jon Hassell and Brian Eno's "Fourth World" report remains a classic recording of electronic, mutant gamelan and exotic indigenous musics that truly bridges many worlds. DREAM THEORY IN MALAYA (4TH WORLD II) picks up right where its predecessor left off, eking out even more convoluted paths into the dense shrubs and foliage of the cyberjungle.

DREAM THEORY IN MALAYA, featuring collaborators Eno and Daniel Lanois, is one of Hassell's finest moments. Hassell's remarkable trumpet tone, all tone smears and monsoon breaths, is at its peak on "Dream Theory," wherein insect-like tribesmen make ritual whoopee amid cavalcades of thick, throbbing log drums. At once alien and awe-inspiring, this music is so highly individual that it has yet to be eclipsed-even by Hassell himself. "Datu Bintung at Jelong" further probes the gamelan/juju interface, splicing in the respiratory sounds of metallic harps-vibrating electronic chorales and strange, mechanistic breathing.

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