Intriguing trips into the hidden dark ambient recesses of your mind. Two side-long tracks on this cassette, each in the range of 17 minutes long, recorded live at the Luggage Store Gallery in 2010. Joining forces here are Andre Custodio (Say Bok Gwai, Nihil Communication), Dave Ed (Neurosis), and Kevin Gan Yuen (Sutekh Hexen) on Moogs and other synthstuff, along with guitar/amp/noise. Long, extended tones, sometimes meditative, sometimes more outward-reaching, wash over the listener. Reminds me of a subterranean journey through outer space, even though that’s not actually possible… I don’t think.
This 1984 offering from Roscoe Mitchell and friends presents a mix of approaches, spread over a half-dozen tracks ranging from 2-12 minutes in length. In opener “Words,” vocals and a pair of saxophones tiptoe around one another in alternating bouts of drawn out, held notes and quick choppy phrases. “You Wastin’ My Time” features a much larger ensemble busting out an off-kilter, ass-shaking groove with Sugar Hill-esque rap–notable for the percussion, and lots of spirited sax and bass work. Short-form improv “Views A, B, and C” is laid back like a plastic bag caught in the wind. “View D” has almost no percussion, but squeaky everything– these dudes take turns doing insane runs, but make it sound so easy. “Lifeline Lyon Seven” is an upbeat, more traditional cut held down with ride, snare and bass; Mitchell delivers a hazy, extended solo out front. It also includes a frenetic solo by Mike Mossman (trumpet) and some true wackiness from Spencer Banfield (guitar).
Tom Nunn and Doug Carroll are improvisers who have been working and performing in the Bay Area for decades. In the early 00s, the duo met weekly to make and record improvised sound art and released the results on homemade CDRs under the name Twine. This CDR, recorded in February of 2002, is the 20th volume of this project. Nunn builds his own original instruments (he has made over 200), including a series called electroacoustic percussion boards, wooden boards fitted with sound generating objects (nails, wooden sticks, strings) and amplified with pickups. We hear several of these inventions, such as the Octatonic T-Rodimba, in this work. Doug Carroll is a cellist and composer. Here, he plays a Zeta electronic cello using non-traditional techniques.
The CDR opens with a long, curious piece. Nunn’s playing is like listening to an crazy Rube Goldberg machine: I imagine twine being drawn through pulleys, marbles rolling around chutes and down wooden ramps, rows of dominoes falling, scrambled tones like a cartoon computer crunching numbers. Carroll’s playing moves through this maze of sound with plucking, bowing, and guitar-like strumming. The electronic treatments give the cello a coarse, lo-fi edge, and adds woozy slides between the notes. On the second track, Nunn introduces some questionably traditional percussion – a driving, deeper beat accompanied by an melodic, bell-like rhythm, as Carroll’s cello growls. The remaining three tracks combine Nunn’s sound effects of T1 and the rhythms of T2, and we hear the two improvisors exploring this wholly original world of sound.
Carl Stalling composed the scores for Warner Brothers Cartoons from 1936 to 1958. He is one of three composers credited with the invention of the click track. He had the 50 piece Warner Brother Orchestra at his disposal and was encouraged to use the Warner Brothers back catalog in his compositions. He developed the surrealist “Looney Tunes” style of rapid-fire musical quotations, puns, and sound effects.
Glochids is the project of James Roemer, a sound artist from Arizona currently working in Oakland. We received his new LP from Ascetic House during his Mayhem 2017 performance in the Pit, during the fourth and final installment of Teachers AIDS’ and James Livingston’s Black Horizons Mayhem.
Ni Fila explores a variety of weird, dreamlike environments over eight tracks. The A side holds five pieces that build on a central idea and with additional electronic and acoustic elements: in Mossoão (T1), a languid synth melody backdrops mechanical grinding, in “Expense One” (T2), a gently glowing drone anchors twisting, stretching electronic sounds, a looping melody underlies blooms of distorted noise in “Comma Loop” (T3), constantly blinking synths are overtaken by metallic rhythms and someone fucking with the pitch shifter again on “Washir Pulse” (T4). “Village” skips through a long-form ambient soundscape with the fast-forward dial (T5). The second side gives way to longer sound collages that incorporate unusual sounds, such as the bell-like bonang and field recordings from the streets of Guatemala (“Net” T6), a marimba mirage on “KPOCC NO2” (T7), bleary organ tones on “Net (Orgel)” (T8). There’s more Glochids in our library by way of Weird Ear, hear here.