Van Der Aa is a young (born 1970) contemporary Dutch composer. Here works seamlessly combine recordings (I believe from the same musicians) and live music. Resolutely avant garde, but very listenable. I especially like Auburn for guitar and soundtrack, but it is all good.
Recorded live in Lisbon in 2015 with the Red Trio (bass, drums, percussion) and their Guest John Butcher on tenor and soprano sax. Free and abstract, all improvised with a fine collaboration that interweaves Butcher’s foundation with the trio’s response. Musically interesting and engaging.
In the 1950’s, Caedmon label put out a series of albums celebrating the Cambridge Treasury of English Prose. Here is vol. 4, Jane Austen to Emily and Charlotte Bronte with a lot of classic British white guy stuffed shirts in between. Criticism, essays, fiction, it’s all here. Straight ahead readings, wonderfully done, wonderfully 1950’s. All the stuff you should have read but really didn’t. Listen and relearn.
Master improvisers, Bill and Chris, take over and destroy.
Did you see that movie “Unbroken” where the American soldiers are in a Japanese Concentration camp during WW II? And the masochistic guy in charge lines up all 125 American prisoners and forces them to punch the American soldier he is mad at/in love with, in the face. Just one after another. Again and again. That’s what listening to this feels like. The sound is pounding, sometimes feeling like there is no breathing room. Orcutt’s fret work is always amazing, like he is actually becoming the guitar to destroy it and transform it. Relentless. Like Corsano’s drum work. So overwhelmingly fast, changing patterns, rhythms, speeds. Like Orcutt. Each is the other, becoming the other. It’s often like violent transformation. There are quiet moments also, but even those are profoundly visceral.
The four sides are taken from two cassettes from the 1990’s called “Live at Various” and “Various Live”. From Orcutt’s label which often gives little information. All you need to know is listen. And duck the punches.
Xome/Boar, Boar/Xome: it all depends on which version you get. Either way, hold on. Two sides from two of the most out there of electronic noise performers. Xome (Bob Scott or Bab Sato) has been around since 1989. Currently based out of Sacramento, Xome has earned his credentials, performing with so many big names in noise and other such things. His performances are vigorous and outrageous. He often sticks mics down his pants for feedback and other sounds. These tracks feel a bit more mature, tempered, even deeper in sound. Thoughtful, almost, but harsh sonic blasts. The last selections is noise with children’s toy advertisements.
Boar, based out of Dubuque, Iowa, is a solo act of epic proportions. Headbanger noise? Harsh noise, higher pitched than Xome, in many cases. Rapid fire wall of sound screams and creams. Cathartic with poison. Ouch for sure with smiles.
The gloriousness of NOISE is showcased by these two dynamic artists. Not for the weak of heart.
X Eyes is the LA noise duo of Corissa Viveros and Travis Fargher (aka rehgrafsivart, also in Bastard Noise). They’re occasionally joined by their two talented kids, as in their live performance from the KFJC pit in February 2017. This 2015 cassette from Kitty Play Records finds the pair bending circuits to generate a warped interpretation of a Deep South tent revival. Bubbling up from the muck of swampy synthesis are swarms of giant buzzing cicadas, visions of snake-faced preachers (T1), a sermon from His Holiness Ornette Coleman (T3), the relentless sound of a downpour during a thunderstorm, blasts of crackling ringing and pulsating feedback. Press play and be healed.