Daniel Wyche – Guitar, Ryan Packard – Drums. Recorded in Chicago 2015. Two long tunes. Wyche’s drone-feedback LFO guitar ebbs & flows. Drummer Packard mixes noise and free jazz, shows good chops. Released by eh? records.
Hemroid The Leader
David Chesky’s The Agnostic (1997) performed by the Slovak Philharmonic Orchestra & Choir with Alto, Bass, and Boy Alto soloists. Recorded March 2000 in Bratislava, Slovakia.
Sacrilegious music. Libretto inspired by Beckett, Camus, Nietszche & others. An Agnostic believes things are essentially unknowable and that human knowledge is limited to experience. “My name is Todd and I am dead / … I’m but a child / … I question this God.” Lots of dynamic range in the recording.
Pointillist duo of Australian pianist Chris Abramson (The Necks) and German Kai Fagaschinski on clarinet. Ponderous piano melodies. Long attackless clarinet tones, close and breathy. Extended-technique piano scraping. Silences. Long and short tracks 2-10 minutes. Recorded in Berlin 2009.
Brass trio Premature Burial’s debut features Matt Nelson on sax&efx, Dan Peck on tuba&efx, and Peter Evans on piccolo trumpet. Named for a Poe story about being unable to move and buried alive. Spectral improvisations. Tense drones. Close mic mouthpiece makeouts. Processing.
Versatile material could be drone, academic, jazz, noise.
A flapping of wings
Strapped to the gurney, the somber tones of a gentle piano, the medicine cart squeaks down the hallway. A window is open somewhere. The medicine man is adorned with clattering gold bracelets, necklaces and earrings, and tusks of every kind. Down the hatch …
Loud, greasy slice of New York maximum rocknroll on a semitranslucent drippy paper plate. Brooklyn trio Cory Feierman, William Schmiechen (Amen Dunes), and Dan Wise (Psychic Ills) I-iv-V garage psych. Toppings include MC5, Stooges, Coachwhips.
The day after they met, John Dieterich of deerhoof & Jeremy Barnes of Neutral Milk Hotel sat in a room and attempted to ignore each other while improvising. The resulting music is synthy, polyrhythmic, a bit like Ghanaian pop music, a bit like fusion jazz. Soulful.
Jeremy heads LM Duplication, they’ve released Eastern European traditional sounds. This makes for a provocative contextual wrinkle.
5 song cycle from Georgian composer Giya Kancheli (JEE-uh Kahn-CHEL-ee). A Georgian Orthodox Christian, Kancheli left the Soviet Union after 1989, relocating to Belgium. Exile is the theme here.
Kancheli says, “When a person goes into a church, synagogue or mosque where there’s not service going on, there’s a special kind of silence. I want to turn that silence into music.”
Stillness. Sacramental reverb. Maacha Deubner sings a boylike soprano. Long tones, pre-classical ornaments. The strings, winds, and voice blur and smear in an agonizingly restrained klangfarbenmelodie. Denial of the flesh. A ceremonial tone pervades throughout.
19 Songs about the mysteries of death and life as revealed to a Native American who’s hat began flapping in the wind. Between 5:00 and :22 long.
Music & Lyrics by William Parker. Sung by Lisa Sokolov. Cooper-Moore at the piano.
Sokolov does a great job interpreting and straddling the line between brassy Musical singing and more delicate Jazz vocals. The lyric is very well written.
16 (Prayer) & 17 (Invocation) deliver two different looks to the album. Reminds me of Ran Blake & Jeanne Lee which is
apropos because one of the songs mentions her.
Recorded Aug 12, 2014 in East Berlin at Radialsystem. Brian Chippendale (Lightning Bolt) on drums vox & fx. Mats Gustafson (The Thing) plays a belligerent sax and live electronics. Massimo Pupillo (Zu) plays bass.
Two long tracks. For me the 2nd track between 18:30 until 30, or even 40 minutes was best. Brian tells about his first show, a Metallica concert. For Lightning Bolt fans this is a must. Chippendale is very energetic and tenacious as usual.
Shapes merge, multiply, fade, regroup, and fade again and again. Echoes and ripples. The surface of clear water makes the things inside dance and wobble, and flow around.
Meditative trio. “Continuous piano” arpeggiates and self-immolates. His hands become “Water, Air, and Stone … the three manifestations of he Continuous Technique.” Like Philip Glass.
Strings. Horror! Terror! Suspense… and Fucking!!!
Composed by Claudio Gizzi, this is the 1973 soundtrack to Andy Warhol’s Flesh For Frankenstein, directed by Paul Morrissey and produced by Andy Warhol. Re-issued with great art, vinyl, and numerous alternate takes by Florence-based Dagored.
Baron Frankenstein dreams of restoring Serbia to glory, so he builds male and female monsters whose children will become the new master race. Determined that they be fruitful, he aims to equip the male body with the brain of someone possessing a powerful libido. Thinking horny stable boy Nicholas (played by the Factory’s top hustler Joe Dallesandro) will be perfect, he mistakenly gets the head of Nicholas’ pious friend. Meanwhile, Nicholas seduces the baron’s wife. Rated X.
Orchestral music for horny sluts. Admirably trashy. Great colored vinyl.
Shamanic drone quartet gives 10 long tracks over 4 CD’s. Released in 2014 to celebrate Simmons’ 80th birthday. His English horn plays an Eastern scale, an incantation is heard, hand percussion, organ atmospherics or subtle electronics. Long reverbs. Commanding, ceremonial tone pervades throughout.
Finish duo Jorma Tapio on reeds and flutes and Janne Tuomi on percussion. “Ranging in mood from serious to wanton.”
Sometimes it’s a heated free jazz duo, other times it’s very primitive with vocalizations and hand percussion. Draws you in.
Improvisers on strings, reeds, and synth-percussion paint an abstract foreground over naturalistic sound beds. “Frog Pond” “Owls” “Stream” and “Jungle Flute” are 4 impressionistic tracks between 9 and twenty minutes.
Recalls field recordings, Lou Harrison, Loop 2.3.4, Cut Hands.
Four tunes recorded straight to tape from local quartet. Led by 16-year old drummer and Subruckus Collective label head Kevin Murray. It’s 1 of 40 copies.
Opening tune by Murray, 2 & 4 are improvisations, 3 is an Ayler tune.
The recording is straight-to-tape, very casual in feel, like a jam session or live set. Murray played with William Parker at school and it inspired him. The band feels for a way out but never gets too far gone or even particularly skronky, rhythm keeps it moving. Very enjoyable.
Dedicated to spiritual transformation at the piano, Andrew Jamieson earned his Master’s degree in music composition from Mills College. Passionate about black gospel music, he plays for faith communities in Oakland and San Leandro. Jamieson is also a free improviser with Ell3 and Nine Fingers. “Heard The Voice” is his attempt to integrate these traditions. African American church music is reconstructed with an eye towards Sun Ra, John Cage, and free improvisation. Reharmonized and improvised passages illustrate the struggle and fervor of a spiritual journey. Harmonies recall Thelonious Monk. Descending harmonies and extensive use of the pedal gives the music a wild conflict. We have other versions of many of these traditional songs in the library from artists like Mahalia Jackson and Fishbone.
Five pieces written for clarinetist Pat O’Keefe, mostly solo. On this release O’Keefe is concerned with legacy, and considers the composers as his collaborators.
Dissonant Grooves opens the album with dissonant pitches set to accessible rhythms. Dendrite soundtracks snowflake formation. Contents May Differ explores close-miking. The Broken Mirror Of Memory (6-9) adds piano and electronics to very compelling effect.
Chamber jazz septet – viola, guitar, drums, bass, clarinet, trombone. Lush arrangements. Sounds downright old-fashioned sometimes. Sesame Street, bowling alley. All composed by guitarist David James. Vocals on #4. We have more David James in the library. Features Lisa Mezzacappa on bass. Funded by the San Francisco Friends of Chamber Music.
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