A long time ago in a galaxy far away, before teenravers
ruled the technomatic dancefloor in e-induced dehydration,
kids used to dance to rock music. This clumsy collection
of five freaks recall that time and stumble to the beat
on this dance rock set of songs. I dig the 8-bit eq on
the first three “songs” (track one is something like a
cassette recording of an airplane?). Most of the songs
feature some sort of choppiness to an instrument or
voice or Atari console in the mix… Yeah if Guided by
Voices had been raised on a strict diet of the Bush
Tetras then your Mom and Dad would never have met and
so forth. I think this band will prove to be more
wonderfully fucked up over time, allegedly they are
a tri-state affair from Chicago, Missouri and Oregon.
This release does not cover nearly as much territory.
Percussion percolated to your taste.
A long time ago in a galaxy far away, before teenravers
Wonder women Pauline Oliveros and Susie Ibarra create a
five-pointed circle rounded out with vocalista Kristin
Norderval, Rosi Hertlein on violin (some voice too) and
Monique Buzzarte on various deeper winds. Operatic scat
will leap out at your ears somewhat but Norderval and
Hertlein are grounded in the texts they are breathing
life into. Ibarra is subtle but strong, opening beaded
percussion doors into songs…high chimes, soft cymbals,
distant thundertom rumbles. Oliveros’ accordion sets
up plenty of sonic fields, droney vortices, but she is
also suprisingly nimble in other parts. This is on
Oliveros’ Deep Listening label (and way of life); true
to form the performers do listen deeply, the sound is
both light with space between players/singers and
heavy with tension from drones augmented by Buzzarte’s
clouds of thick trombone, and from Hertlein’s anxiety
violin attack. Polyglot sotto vices.
Interesting to hear a sax player not trying to peel
paint off yer earlids nor squeeze more notes into a
solo than clowns in a Volkswagen. Teuber’s playing
here is air-tight in parts; smooth (and reflective) as
a pool of water. By the way it is not a tenor as listed
on the cover, it’s alto. Though at times it sounded like
a french horn to me, polished, shiny. At other times it
was relaxed and subdued as a clarinet on claritin. He’s
paired up with a very tightly strung cello from Paul
Rucker. On most tracks it feels like Rucker is going
to have a string SNAP and that adds a nice tension to
the mellifluous playing of Teuber. Lot’s of reverb
on that sax…like walking through an impeccably clean
subway? “Somber Time” is a beauty. “Some Are More
Equal” features nice percussive pphhht’s from Teuber
at the beginning. Art of restraint overall.
Another French pioneer in the realms of musique concrete
with Pierre’s Henri and Schaeffer. Parmegiani has worked
in TV/films as well, and the sounds here, whether from
his select memory…or aiming to trigger memories in
each listener…do seem to be more visual than some
other’s work. He’s got nice texture in these three long
tracks, constructed over a much longer time: 1967,
1987 and 2001. Despite those 34 years, standing aside
each other there is a flow (unlike say sci-fi movies
across a similar chronochasm). The first has more of
the explosive cut style (maybe from more primitive tape
handling). The second works loops more often, and has
voices and thus on a simple level, a more human feel
as well as time ticking in clocks and water drops. The
third and title cut is the most cinematic, including
soaring strings to underscore emotion. Add chimes
and crackling bramble, digeridoo and fanciful computer
flybys. Serve in slices, or complete.
To say this is a trio of three Robert Horry’s probably
doesn’t mean much, so I shouldn’t start the review that
way. That might mislead, like “Majorca” the leadoff cut
on this eponymous Trio S release. “Majorca” bristles w/
a Tony Conrad/Amps for Christ power, that evaporates for
the remainder of the album. It’s not bad, it’s just that
it’s like a body with a different head. The rest of the
album laps at your ears…soft raindrops on shallow pools
of sound…well the “Russian” Anthony’s River is a 20
second exception. Read Wieselman’s notes on all-natural
perceived melodies…and relax to the flow of this album.
Me, I’ll be pacing next door hoping that Trio S’ next
effort features pursued inorganic melodies…built with
more air and fire, and covered in loamier foam.
Malachi Thompson is 30 years down the AACM/Chicago
railroad tracks. This album kicks off with an “And the
Grammy goes to…” solid but glossy vibe. But along
comes “Genesis/Rebirth” the closer to Thompson’s Black
Metropolis Suite. The sweet toe-tappin’ evaporates,
and a heart-stoppin’ composition rises like a new sun
in an old sky. Slight flamenco flares arc off Harrison
Bankhead’s bass; the Africa Brass octet which earlier
were turning on dimes, polishing the bop now construct
a slow monolith for Steve Berry to ponder over…until
there’s these crazy feudal/futuristic fanfare. Then
saxist Ari Brown gets a chance to wail on this triumph
of a track. That heaviness keeps a rolling into the
thick bluesy Louis Armstrong triptych tribute. Dee
Alexander starts that on the dark side of the moan,
it then jumps a train and ends as a playful talking
blues against Berry and Brown, now on clarinet. Read
the booklet’s understory arguing against divisions of
blues versus jazz in words, the best argument is the
music… Ends up in fun at the “Mudhole.”
Avant-exotica? Much in the vein of Yoshimi’s
earlier picture disk. The other reason “Y”
is Yuka Honda of Cibo Matto, who adds a lot
of tinkling key work. Yoshimi also brings
the trumpet more to the front at times,
it has appeared a little bit in her OOIOO
project. Nuns on mescaline singing/keening
in parts…and lot’s o’ fauna doing backup
vox (birds, dogs and insects). As legend,
or perhaps just marketing, has it…this
CD was created at a temple atop Mt. Ikoma
after hiking all of the instruments up
there. (So I guess that’s an electric
piano on much of the album ;>) I prefer
the tracks where the “bamboo” percussion
makes an early entrance. En trance in
trance tranq quill trance end.
Vienna-based pianist delivers a precise and poetic
release. His quartet here includes Stefan Nemeth on
synthesizer, their interplay is like a dog and a cat
that get along…somewhat surprising and all the more
enjoyable to observe because of that. Territories are
not marked strictly, and at times prepared treatment
for Oskar blurs the line where the piano stops. Much
of the work here has a crystalline beauty; precise
stops in phrases (like question marks hanging), quick
but bright clusters, and lighter than air work on the
upper 44 keys. Deep sea bass work by Achim Tang (with
some scrubbing/bowing) and percussive punctuation by
Paul Skrepek add significantly. The invisible fifth
member of the quartet is Christoph Amman, who captured
this in a gorgeous recording, don’t miss it.
Hard to separate the irony from the gold, hard to
filter the sample from the directly generated (or
should I say degenerated) sound. Perhaps that is the
split in this war? Or could it be that Drew Daniel
and M.C. Schmidt find themselves at each other’s
throats after jetsetting about as Bjork-End BoyToys?
Well if they are each others throats, it is only to
record the sound of blood in the carotid artery
(that and music made from rabbit pelt are purportedly
among the sonic inputs at work here). Listen to their
rendition of “Stars and Stripes Forever” these guys
may be too clever for their own good. But this is
the future, sampling not as a mode of deconstruction
but rather Reconstruction. And perhaps that would
have been a more fitting title to this album of
mechano-server marches and madness? Having seen
them with her Bjorkness, I hope beyond innovation
and technique, they will help lead a rallying of
performance and presentation, a point where power
electronics is often all mouse, no man.
Science Friction is Berne’s latest group, with
some familiar figures. Marc Ducret on electric
guitar is somehow able to insert notes between
the fiery charges of Berne’s alto. He’s just a
tremendous guitarist, who we should hear more
of…his use of volume washes works well with
the keys and electronics of Craig Taborn. When
Taborn is leading, this album can prick up
some prog rock ears…but this is really an
explosive jazz album, that gets the Blue Series
nod thanks to the electronics (not just Taborn,
visit “Mrs. Subliminal” to hear Tim dabbling
in delay. Tom Rainey remains Berne’s reigning
drummer king. His looseness fits well with the
dizzying work here. I actually live for the
moments when a few of the scored bars kick in.
Those sections are hairpin tight and move
quickly in unexpected directions. “Smallfry”
is unique in its ice cracking ambience. This
is all live, no safety net.
Noise pop deluxe. Tangled hair and broken guitar
strings…pull ’em out the skin and let the lady
scream/sing. That ain’t no lady, it’s Nikki Colk.
Punky and profficient. And pile on petulant as
well. Her vocals would make a snail panic. Her
voice flails, often over a raucous chorus. Those
choruses sound like chipmunks at kung fu class.
At times Colk’s lead voice has the fideliy of
a fast-food drive-up-window. Sophomore release
from these Brighton’d whites thrills with shrill.
But it delivers….rarely relaxing the pace.
“Nothin New” is kinda dainty, “Moi” is a cuckoo
clock in a cowboy hat. “3am” is the comedown,
passed out in a grandfather clock. Lyrics read
as though lifted from diaries before sobering up.
Guitar goes 90 mph the wrong way on the xpressway
to yer skull. Don’t forget to rock?
Flotsam and sinksam from Bill Callahan. Well
captured in oft rough recordings. We’ve got
vapor-lock blues, anti-rock star heroics
(“It’s Not Gonna Be a Hit”) and the ol’
Smog favorite, collapsible relationships.
He seems like a guy who’s counting on the
big nasty breakup even in the honeymoon
phase of a relationship. (“I Break Horses”)
There’s a flare somehow in the flatness of
Callahan’s voice, and as well as anyone
he can make the lurid, alluring. I like
the fact that many Smog songs, when they hit
the spot where the bridge should come they
almost go flatline. Hell, the songs start
off with pretty economical lyrics and guitar
playing and then they lose their shirt and
their way for awhile….till the next verse
comes along and gives ’em a ride back to
tune. On the lighter side, Callahan does
quote “Baby’s Got Back” on the tail end
(where else) of “Real Live Dress”
A new release going up at the same time as
his Accumulation time capsule. Bill Callahan
has the detached disdain handed down through
various undergrounds, Velvet and otherwise.
The sharpness of his lyrics, and his acerbic
stage persona always command my attention.
The songs here are less dilapidated as he’s
got a real live band behind him, and his
fondness/fiendishness with the femme fatales
has been displaced by a love of conundrums.
There’s some solid cognitive dissonance he’s
dishing out…and “Truth Serum” and “Guiding
Light” are just well crafted.
Bristol septet, brash swaggery pop. Uplift mofo
horns party! And the horns are a quite sprite
French Horn (Daniel Cornfield) and Cornet (Aaron
Dewey). Sassy male/female vocals. Jenny Robinson
is the breathy, semi-sultry syllable stretcher
while Aaron Dewey is the “Speaker’s Corner” more
excitable ranter!! *Two* drummers in this…so
their sound has plenty o punch. Part of the UK’s
‘Pull the Strings’ collective. Horns kinda add
a Doc Severinsen dosed at the horse races amped
up vibe here that makes this pretty irresitable.
#11 is fancy phone freakout that tracks into the
closer. #9 is the slow dance. Right honorable
and simply smashing! -The Viceroy of Vice
Well-constructed dilapidation. Gravel in the
gullet vox of Jay Munly (from Slim Cessna’s
Auto Club). Ballads with ballast, a weight
that is lifted by a shoestring quartet (that
being Tarantella cloaked in shadow and soot).
Munly’s voice rises with an angsty twinge of
twang almost gets to a Gene Loves Jezebel
screech at odd moments. Songs of heresy and
fallen heroes, of people like Gerry Cooney
and Weegee, that Powers of Celebrity try to
pretend never supped at the popular table.
Like a barn in Faulkner story… every song
is ready to catch fire. Slow fuses throughout,
rocking chair rhythms. Has the acrid flavor
of moonshine with plenty of kick that catches
up to you long after you have imbibed the
lyrics. Perfect for that Belladonna/Joe Ed
team show! Gothic chamber country rides on….
Slap a retro-EARGASM sticker on this nugget. The
best new wave album to come down the pike in some
time. The panicky lead singer (Todd Baechle), the
sense of detachment, the air raid “subtlety” of
synthesizer, the little machine gun guitar rounds,
unabashed drum machines w/ their insistent slap
of digital ass. This supernovas on the promise of
their early (and excellent) 7″ split “Brokers,
Priests, Analysts” I am an unfair judge because
right now I’m 100% infatuated with this. “Control”
(about orchestral conductors in the dark) is a
massive masterpiece. Killer treated vox thoughout,
add some cello for the ultimate in pop. Omaha,
where infection meets confection.
Quite a story from ’63: a Nazi’s secret tape, a young chanteuse takes a chance, the Duke helps and heralds here husband’s (Dollar Brand to-be Abdullah Ibrahim) combo and we’re the happy ending when we play these refreshing trad ballads. Sathima’s voice is satiny, evoking a soulfulness beyond today’s brand of vocal cords on steroids. Makaya Ntshoko’s drums are mic’d as pure fountains of cymbals with soft, splashing snare. Svend Asmussen pops champagne violin bubbles. Ellington guests on two of his pieces, Billy Stayhorn adds a pair working the lower 44, and Ibrahim fills the rest with subtle strength. On all cuts, you can hear the space between their fingers. For a one-day session of one-takes, this is remarkably relaxed. Soothing and lucid as a clear mind in dawn’s light.
A simple sampled tramp’s prayer song unravels to reveal an amazingly rich orchestral life. Casual listening will miss the gradual momentous emotional shifts. This is actually a recreation/re-issue of the original sparked by fan and guest vocalist on the epilogue – Tom Waits. An excellent library add, excerpted overplay wouldn’t do this justic, invoke occasionally for lengthy stare-at-the-ceiling existential crises or fill an absent Public Affairs slot with this gorgeous listener epiphany generator.
-Thurston Hunger 7/13 1997
The mandala mandate continues. It may have started out as a crash hash course, but at this point one assumes the Girl’s devotion pure. “Borungku Si Derita” is one of them thar A-minory ballads which, despite achingly anthemic vocals, tastes like Middle-Eastern Meatloaf to me. “Abydos” however is a fine Hindu-Flamenco Locomotive Surf instro and “Carousel Tapsel” spins a Ferris prayer wheel of vocals chasing guitar melody chasing percussion slaps of the acoustic melody. Hello Dalai Lama.
Technically black is not a color, but the absence thereof. Similarly, silence is not a sound, but its absence. And yet silence is critical to Arvo Part’s sonic palette. Aural afterimages echo as quiet caverns of drone. Dissonant tension stretches taught across gaps between notes.
Arvo Part is dynamics. Stark yet strangely serene solitude. Quiet majesty. Ethereality. “Litany” is an epic offering, English lyrics transcribed from prayer are felt rather than heard, thanks to the Hilliard Ensemble’s “volume pedal” grace. “Psalom” is a latticework of breaths on strings. “Trisagion” is the sound of a high priest walking at midnight among the dead upon a battlefield in a religious war. Faith and doubt commune. Music for epiphany.
Thurston Hunger 10/23 1996
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File