Camouflage by Garry Havrillay

Camouflage front cover

"A dense meeting of tribal, trance and industrial flavours"

Camouflage is the second album by Garry, released on the internet on February 1 1998. In contrast to the previous release it makes extensive use of sampling technology, and reflects Garry's increasing interest in the hybridization of music from around the globe.

Listen to the entire album.

Tracks

1   Portal   [0.40]   submerged metal, subsonic violin, sound effects
 
2   Voodoo I   [3.51]   rhythm loops, bass, electronics, electric guitar, sounds from Kakadu, Mozambiqui chants   // soundtrack for the animation video by Annemarie Szeleczky - 'Collage Kinetics' (2004)
 
3   Voodoo II   [4.58]   subsonic violin and cello, overtone singing, whispering, self-generating oscillations
 
4   Aphrodisiac   [4.48]   African percussion, electric guitar, organ, kalimbas, bass, guida
 
5   The Killing Jar   [3.40]   Ethiopian loop, cooperative cicadas, African percussion, frame drum, gaida   // Also released on the 1994 compilation CD, 'Document 01 - Trance/Tribal' (Dorobo 001) produced by Darrin Verhagen. A substantial reworking of this piece is the soundtrack for the 2007 animation by Annemarie Szeleczky called '1956'.
 
6   Camouflage   [5.57]   dungchen trumpets, kitchen percussion, tampura, tabla, exhaust pipe, ney sample, chanting
 
7   The Gulf Between Us   [4.08]   the 'Yammouni' loop, Tibetan bowls, DX7 rhodes, African percussion, analogue synth, synthesised drums, Tanzanian voice, electric guitar   // First released on the limited edition cassette compilation, 'The Yammouni Files' (Dorobo)
 
8   The Wreckage   [5.28]   submerged metal, aquatic sounds, self-generating overtones, percussion loops, drums (played by Chris Quinlan), bass, synthesised percussion, breathing feedback
 
9   Zarb   [8.05]   synth wash, drums (Chris Quinlan), DX7 harp, electronic guitar bass & percussion
 
10   Entomology   [9.49]   Ethiopian loop, African percussion, tom-tom, tabla, electronic guitar, cooperative cicadas
 

Thanks to Heather Jarvis-Dodd for the African field recordings.

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