Sunday, November 15, 2009
Sunday, November 8, 2009
Wednesday, October 28, 2009
Saturday, October 24, 2009
Much of what I'm talking about is even more prevalent in Greg Kelley's solo and collaborative work outside of nmperign.
One of the best bands. If you're into this sort of this and you haven't heard 'em then this post is SOOO for you. Start with We Devote Every Effort, which is just one of the most brilliant records I've ever heard.
This Is Nmperign's Second CD
In Which The Silent Partner-Director Can No Longer Make His Point To The Industrial Dreamer
Nmperign + Dörner, Beins
We Devote Every Effort To Offer You The Best That You Deserve To Have For Your Enjoyment
I don't feel the need to explain to you why exactly Arthur Doyle is the fucking shit. He just is.
Wednesday, September 16, 2009
|A1||UFO Factory, Detroit, MI (4.03.09)|
|A2||The Fact House, Lexington, KY (4.12.09)|
|B1||Skylab, Columbus, OH (4.05.09)|
|B2||204 North Gilbert, Iowa City, IA (4.09.09)|
|C1||Art Damage Lodge, Cincinatti, OH (4.02.09)|
|C2||Now That's Class, Cleveland, OH (4.04.09)|
|D1||Big V's, St. Paul, MN (4.08.09)|
|D2||APOP Records, St. Louis, MO (4.11.09)|
|E1||WNUR 89.3 FM, Evanston, IL (4.10.09)|
|E3||The Mopery, Chicago, IL (4.10.09)|
|F1||Woodchuck's,Toledo, OH (4.06.09)|
|F2||Cactus Club, Milwaukee, WI (4.07.09)|
Monday, August 31, 2009
I think that Greg Kelley and nmperign are kinda sorta that link between labels like Erstwhile and Hanson. Sorta a beautiful and harsh collision between those two worlds that seem somewhat diametrically oppossed.
But Kelley proved me wrong. oh wellz.
I love this record mostly for Masonic Inborn which is totally insane and my fav Ayler cut.
Monday, August 17, 2009
Saturday, August 1, 2009
Tuesday, July 28, 2009
The sole LP of this group, nigh impossible to track down now. Sort of in the vein of AACM stuff from the time, especially Art Ensemble of Chicago. Oliver Lake, Charles "Bobo" Shaw and Joseph Bowie alongside lesser-knowns Baikida E.J. Carroll and Floyd Le Flore. Fumblingly free stuff with plenty of clatter.
Monday, July 27, 2009
The new album from the trio of Mats Gustafsson, Paal Nilssen-Love, and Ingebrigt Håker Flaten. The latter two players make up probably my favorite contemporary rhythm section in this style, as they've grown so very tight together from playing in a number of groups (Ken Vandermark's excellent School Days project, the Scorch Trio with guitarist Raoul Björkenheim, etc.). I've got a lot of that stuff, so let me know if you're interested. Anyway Gustafsson goes crazy on this record, too, unleashing blasts from his sax that recall his former mentor, Peter Brotzmann. Don't know why it was released as a double CD (whole thing clocks in at 76 minutes or so) but that won't bother you, will it?
Wednesday, July 22, 2009
I've got a lot of updates for No Not Fun Not No as well so I don't feel like typing a lot.
But honestly, I know that this kinda a bullshit hipster thing to say, but i legitimately feel that the quality of Japanese experimental music went down by 50 percent when Takayanagi died. And to me, it still hasn't fully recovered.
Don't get me wrong. I love bands like Incapacitants, but there's something special about Takayanagi that everyone else just doesn't have. I can't put my finger on it right now though.
One of my top five lps ever.
There's so many things to love about this one. It's fucking intense, but never feels like everything gone off the rails and it's become just random blowing. The control that all of these guys had is just astounding.
Great fuckin' record.
Here's the thing, most free jazz or improv music at the time, while no doubt chaotic, had some sembelance of structure or at least a theme that drove it forward. This has none of that and is a VERY appropriately named record as a result.
My first and still my favorite MEV. I think I might've heard it before AMM, but that was years ago.
Tuesday, July 21, 2009
More Chicago improv/Matt Bauder/2003 with a host of other great players such as Fred Lonberg-Holm, Jason Roebke, and Rob Mazurek. This is release number four in 482 Music's excellent Document Chicago series. Although originally improvised, most of the musicians were recorded separately and it was patched together and manipulated later by Bauder, so it may be stretching some definitions of jazz/improvisation. But its a damn good album anyway and the fact that it was pieced together later is actually pretty amazing as it has a very cohesive sound.
From Matt Bauder:
In 2000 I composed the four pieces for sextet (two reeds, two strings, two brass) that more or less appear on the disc. While I was composing I was aware that I was asking the players to play as if their sounds were being electronically manipulated. While writing the music I was thinking of a recording where the before imagined electronic processes would be actually constructed electronically. The music on the disc was recorded in segments with solos and small ensembles and later edited and layered to construct my compositions. Very little was actually played live with everyone together... One of my main interests was non-interaction within a specific texture. We did this in a few different ways. One was to give instructions to each player and record them separately while not listening to what the others had recorded, and then layering. The beginning is probably the most electronic sounding part. It was made by recording all of the players separately playing long tones, and then I spent quite a long time cutting them into those blips by hand (by cursor I guess) on the computer. One distinction I should make is that there are no electronic sound sources (there is a Hammond organ bass line at the end, but I didn't want to make a big deal out of it by saying that I play organ on the record), and very little signal processing (some distortion on the cello, and plate reverb).
All 4 tracks are great. The first track is the most heavily manipulated electronically to very good results. Some of the other tracks offer sputtering squiggly splurty strings and brass, but also some very beautiful long tones, particularly track 4 which actually builds into some dramatic beautiful "fan-fare" type deal.
|1. 1 (20:06) |
2. 2 (8:00)
3. 3 (8:23)
4. 4 (16:08)
Yo dogz, it's time for some slooooow jazz from nice label locust and the chicago jazz scene.
From AMG (who I usually don't trust but here is a pretty straight forward description):
Bassist Ajemian and tenor saxophonist Bauder set up their mikes one night on the back porch in Chicago and recorded themselves playing a half hour's worth of quiet sustained tones. Local traffic noise and the buzz of various nearby insects were also captured on the tape, imparting a refreshingly natural feel, far from the pristine claustrophobia of a studio session. The first half of the proceedings was recorded simultaneously on two mini-discs by some friends in attendance, who inserted index markers here and there and subsequently played the resulting tracks on random shuffle. "Normal" starts out then as a duo and ends as a quartet...Seriously underrated and underheard gem of free improvisation/quiet jazz/field recording. Both Bauder and Ajemian always bring the goods, Ajemian being probably the quietest bass player you've ever heard. Highly recommended for late nights.
(sorry about the megaupload, I'm having some problems with mediafire right now for some reason)
Sunday, July 19, 2009
Saturday, July 18, 2009
My obsession with Leroy Jenkins continues.
All of the Revolutionary Ensemble Records from the 70's are essential. They're rather unqiue in free jazz due to the fact that they aren't based around reeds or horns really. Cooper does play the flute, but even that's a instrument you rarely hear in free jazz.
beautiful mind expanding stuff.
Thursday, July 16, 2009
Review & upload originally posted on my blog.
Although this doesn't totally fit the free-jazz/improv label (it's pretty heavy on post-production editing and pretty light on actual group improv) it sounds like it should. And there's a definite William Hooker/Han Bennink influence, so that counts for something.
Considering they have what may be the greatest band name in the history of music, it’s sort of a shame that Nervous Cop was nothing more than a one-off recording project. That fact seems even more unfortunate when you consider the participants: Hella drummer Zach Hill, Deerhoof drummer Greg Saunier, Deerhoof electronics guru John Dieterich, and a pre-Milk-Eyed Joanna Newsom. And if a drums, drums, electronics, and harp quartet sounds like an odd proposition to you, then you’re absolutely right. This album is pretty much the definition of an “acquired taste.”
The first time I heard this album, I very quickly wrote it off as pretentious garbage: musical gibberish. It was only a few years later that I was lying in bed, suffering from insomnia, and decided to turn on my iPod and listen to something to maybe help lull me to sleep. Why I chose this particular album I have no idea, but it certainly didn’t do what I was hoping it would. Instead, in the pitch black of my room, my attention wholly focused on the sounds coming from my headphones, I became enthralled by what I heard.
Nervous Cop demands your full attention. Hill and Saunier don’t make things easy. Their drumming doesn’t follow any conventional rules of rhythm. Far more concerned with sheer energy than with keeping a beat, the percussion ebbs and flows in waves and gushes of clamor and din. Occasionally, crashes of cymbals become ambient background hiss. At other times the two drummers appear to be duking it out - launching volleys of percussive gunfire in each others direction. There are moments where it sounds as if they have a hundred drum kits at their disposal, and aren’t playing them but rather throwing them down endless flights of stairs as quickly as they can manage. Often the drum sounds are electronically processed and manipulated - strange effects are applied; panning and volume are played with; the attack and decay of the individual sounds themselves are clipped off or tinkered with. Dieterich’s subtle blipping, beeping, gurgling, and chirping electronics closely resemble his electronic contributions to Deerhoof tracks such as “Dog on the Sidewalk” (the last 30 seconds of that song, in fact, sound strikingly similar to several songs on this album). Newsom doesn’t come into the picture until track 6, “Frank vs. Frank,” which also happens to be the most structured (that’s speaking very very relatively) and most “successful” track on the album. Her playing style here is markedly different from what you might expect. It has far more of a classical and avant-garde influence than usual, with more of a focus on texture, and often wanders into grim and dissonant territory. Her trademark vocals are totally absent.
I suppose it’s worth mentioning that Nervous Cop was originally born as a very different beast. Mutual admirers of each others’ playing styles, Hill and Saunier had long planned to collaborate. This album began rather simply as the recorded documentation of a ferocious jam session between the two drummers. The recording was then chopped to shreds and pasted back together by Hill or Saunier or both.* Later, Hill asked his friend Joanna - then keyboardist for The Pleased and not yet famous - to contribute some harp. There were a couple more attempts at remixing before Saunier asked fellow Deerhoof-ian Dieterich to add electronics. A few digital re-workings later and what we’re left with is Nervous Cop. I don’t know if knowing that makes it more or less surprising, then, that many moments on the album manage to capture the same feeling of inspired spontaneous group interaction that only the best free improvisers can achieve.
Nervous Cop - Nervous Cop
1. Setting the Bushes on Fire (0:34)
2. Rice Precipitation (0:36)
3. Nonrum Nonproblem (1:06)
4. Get Wolf Boy and Get in Context (0:38)
5. Ill Pearls (4:31)
6. Frank vs. Frank (7:32)
7. Colorchains of Outer Space (3:36)
8. Nuflesh, Old Thirst (7:55)
9. Pow Strikes Pow Implosion (0:54)
10. The Hawk Feeds You to Feed Itself (5:12)
* information regarding the story behind this album is very difficult to come by, and if you have any links or articles or interviews or anything, please send them.