BSC

Burning Star Core

The Very Heart of the World (2005)

Thin Wrist









This is a quick rip I did for someone elsewhere. You'll want to buy it HERE, after listening.

http://www.sendspace.com/file/2fmkra

Antlers

Bastro

Antlers Live: 1991

Blue Chopsticks

Chicago, IL





Dudes, you guys know that I love John McEntire and Tortoise and Bastro and a lot of the things he's done but just listen to this, from the liner notes:

I would argue that our interpretations of these songs and the performances contained herein exist in a disembodied, ahistorical world; a world whose origins and possible future destinations seem wonderfully disconnected from our own, verifiable musical history.

Uh, what?

http://www.sendspace.com/file/qasq57

Buy

Listen

Interstellar Space

John Coltrane

Interstellar Space (1967)

Impulse!


Why Not? Why not up this record? It is after all the greatest record of all time. I just upped the original four tracks, just to keep you from getting side-tracked. You know how you get.


These are mp3's from my CD copy, but if you ever get the chance pick up the Vinyl. I love that record so much I want to take it behind the middle school and get it pregnant.

http://www.sendspace.com/file/cl5pj1

The Radiant Mirror

Flower-Corsano Duo

The Radiant Mirror

Textile Records (2007)

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I bought this a while back and things being as they are, it sat on my right speaker for a long fucking time. Why? None of your fucking business thats why.

But, water under the bridge, here it is tonight, blaring through that same right speaker, appropriately living up to it's description as psyche/drone/free-jazz. A beautiful change of pace for our favorite free drummer Chris Corsano. Michael Flower uses what he calls a 'Japan Banjo' described as a "giant unwieldy instrument fed through effects pedals and an amplifier played with fingers and bows" to deliver his sound. (Look here for the quote, and some MP3's.)

Safe travels, kids.

Buy.

Listen.

Zing!

Zing!

Magnetic Flux

ears & eyes

Chicago, IL

Caught these guys at the Empty Bottle a week or two back. Exactly right in our wheelhouse. They had that jazz/rock merger attack pinned, that ol' tightrope. I enjoy that the group is not afraid to delve deep into noisy rants and still create plenty of opportunities to declare themselves prim and proper 'musicians'. That's a respectable thing these days. I found the guitarist after the show and jawed his ear for what he seemed to think was way too long about his influences, objectives, contemporaries, things like that. And i just kept saying more words and he just kept staring at me all freaked-out looking. Some people don't like to talk all that much shop I suppose.

Definitely listen in, here.

And buy the shit, here.

Suite: Bittersweet

Nels Cline/ Wally Shoup/ Greg Campbell

Suite: Bittersweet (2007)

Strange Attractors

There's a good amount of records out there that are of Suite: Bittersweet's brand of modern free-jazz. Most of this brand involves the participation of names like Flaherty, Corsano, Shoup and Cline (and a host of others in this revolving door of worthy improvisers). These are the best of the best of our day, to be sure, but it's strange how these records now have a particular, unique set of expectations attached to them. You could not safely call these improvisations 'ground-breaking', or 'cutting-edge' as they seemed to have evolved into their own sub-genre, their own classification. But saying that does not intend to take anything from the unforeseen landscapes welded in these sessions. Nor do I intend to imply that they are premeditated. What in fact we have is a sort of controlled apocalypse. Like a C.I.A. experiment in which they remove a small town from all contact with the outside world in order to simulate Armageddon. It's real. The hysteria is real. But you can be assured knowing that it will not spread into some sort of John Zorn debacle.

This particular album has gotten quite a bit of playing time recently. I wouldn't rate it any better or any worse then any of it's contemporaries, if such a comparison is even possible. It does score a 100% for genuineness, which is probably the ony requisite we should have on improvised music. This is guitar, sax, drums, from 2007, and it is in print at SAAH. but assuming you'll hear this and immediately go out and buy the full record and the multitude of others of it's kind, I'll be willing to post the B side only to this record temporarily, and by request. Enjoy.

Updater

Not to get off-topic, but Summer is the most wretched of the seasons; an egregiously long string of unnecessarily hot days defined by excess, idleness, and reckless hedonism. A time in which everything of importance seems to dilute - 0ur convictions, our focus, our passions. It takes a disparate and cruel drop in temperature to remind us that our primary function is still simply to survive in an unforgiving planet. And that some things need to be explored before we're gone. Back to work.
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By virtue of a welcome but inexplicable surge in email requests here are some re-ups:

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The Music Improvisation Company
Instant Composers Pool 006
Haberdasher
Lynx
Guitar Solos 2
The Made-Ups
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The Futurist

Shellac of North America
The Futurist (1997)
Self-Released
Chicago, IL

Ah, yes, the not so super secret Shellac album. I'm not going to go into what this record was, you can google all that. But I will tell you that it is my favorite Shellac work. All the expert minimalism and math, none of the doo-doo and feces talk.

I know posting a Shellac record may be breaching the sort of obscurity standard we've established here at M&N, but I just happened to have upped it for a friend last night and thought, some young kid out there in the vast reaches of our universe hasn't heard Shellac yet. And here it will be a bright morning for some new student of the non-song.

OOP.

http://www.sendspace.com/file/xkix56

Big'N

Well obviously it's been a while since the last post and I could blame that on a number of things, any of which would seem terribly irrelevant. So I will spare you the excuses and instead implore what few of you there are left to grab this CD.

Six weeks ago the "Prison City", Il band Big'N got together for their drummer's birthday in an effort to demonstrate how vulnerable the skull actually is to fierce emissions of noise. Their shows are rare and celebrated events , so I was quick to seize the night.

I'm fairly certain such a night is a primarily regional delicacy at best, so for all those unfortunate and innocently out-of-the-know, here is a site link, and a buy link.

Myspace.

Amazon.

The Music Improvisation Company

The Music Improvisation Co.

Derek Bailey, Evan Parker, Hugh Davies, Jamie Muir, Christene Jeffrey

ECM Records

If you're like me than the Gorge Trio's Madeups really left a hole in your brain when you first heard it. Mostly due to the amount of restraint the Trio showed. For Noise, or Free-Noise this is a quality that is largely overlooked. The players will typically opt instead to compact as many layers of sound possible into each recorded second. The Madeups was patient, poised, minimalist, somethings I thought to be quite revolutionary.

So imagine my surprise when I found they've been doing it since the seventies.

Gorge Trio

The Madeups (2002)

Self-Released

OOP

The paradox of free-music is that you can never achieve a wholly free improvisation. Your ideas have to come from somewhere and that somewhere is a cesspool of idioms and cliche. So naturally what you try to do is something which I call multiple fragmented perspective amalgamation. Imagine a portrait of a man's face, painted from all sides, all combined into one image. Space does not allow you to have all perspectives represented equally so thus each perspective compromises itself and becomes fragmented. The result is something nearly unrecognizable, it is a mural of familiar images cut into such tiny pieces and rearranged so that it becomes nearly totally unfamiliar. And nearly totally unfamiliar is the best free-music can aspire to as well. But it also represents reality much better than anything we're used too.

I recently read a quote defining good art as "that which reflects the viewers perspective most accurately back at him." Now take that same man, and make a painfully thorough documentary on his character. Make sure you interview everyone, and leave out the boring crap that everyone feels they have to say. The result is a mural of details ranging from his deepest, darkest secrets, to pure, unsubstantiated rumor, perhaps a man nearly totally unrecognizable to his own family. That's what you really see, isn't it? Things are actually phantoms of what they're supposed to be. Even those trusted, sacred things. You see, Rhythm and Melody are lies, trying to smuggle into your brain a poisonous, false world of trite, cookie-cutter lyrical and musical cliches.

Free music is the Truth!

The F and The C

The F and The C

S/T

Austin, TX

This here is a three-piece of guitar/bass/drums from Austin, that plays a self-described brand of noise/freerock/absurdist improvisations that might seem obviously comparable to the rattle of disassembled engine parts, individually mutilated and then pieced back together. But it actually sounds nothing like that at all. But I won't blame you for thinking that because it's terribly easy to overthink these things.
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Case in point: When you're hearing these individually mutilated parts, you can't help but ache to know which parts were mutilated artfully, and which parts recklessly, right? And you can't help but ache to know what's the difference between the two. I mean, certainly you can bang on your instrument for an hour and call it a 'noise/freerock/absurdist improvisation', right? What's so hard about that? But is that all that they are doing? Are you sure? Then why do people like me eat this shit up? Maybe you're missing something. Maybe you should listen again.

Listen here.

Blue Humans

Blue Humans

Clear to Higher Time (1993)

New Alliance Records

NYC

This past week I decided to tie up a few loose ends in my Alan Licht collection, finally finding, among other things, that The Evan Dando of Noise? release from '97, which I just find too funny not to mention here. Anyway, his solo works are all very interesting and I'd recommend them in particular if it were not for his part in this beautiful studio racket from '93.

The recording is two guitars panned hard to the left and right channels respectively. The drums are centered, maybe a bit back in the mix. Someone once described this to me as free-noise, and I've always enjoyed that characterization. The drums splatter around very much in the vein of free-jazz, maybe like a belligerent imitation of Rashied Ali, while the guitars seem to be a wild mess, just raging on separate rants, noteless, unrestrained. But I have a suspicion that if one were to travel in time and sit in on this recording, that the level of coordination observed between the players, whether by design, or improvised, would be surprising. Because there is some quality in these noisy rampages that makes it outstanding, one that I can't quite pin down. Something went terribly right for these three in the August of 1991.

I'll throw up a link to a file with the five tracks later tonight or tomorrow, because I'm pretty sure it's out of print, but I'd like to check first.In the mean time here's one track, "Movement" from another blog. Here's the ZIP.

The CD goes for $.01 used, and under two bucks new, so just buy it already.

Febuary Releases

These are a few records released this month that I have not heard yet, but am excited to get my hands on.


L'ocelle Mare is the newest project of avant guitarist Thomas Bonvalet, formerly one half of France's excellent Cheval De Frise. After the tray time Frenetic Record's Fresques Sur les Parois Secrètes du Cråne received, it would be a sin not to pick up Thomas's solo record. But if that alone wasn't enough, the tracks provided on his website point towards a braver, more complex, fascinating direction for the classically trained guitar man. I've had tracks "9" and "2" in my head for weeks now, trying to decode the narratives hidden within them. You have to wonder about the writing process that led to these songs, because they seem to grow naturally, as if improvised, but retain a flawlessness and a precision that suggests design. Very impressive.

CD available at Sickroom Records. Plays Chicago on Mar. 1st in store at Permanent Records.



My Disco also releases their second record this month, and based on the tracks provided here, it seems likely to be even stronger than their first. I'm basing this mostly from the tracks "You Came to Me Like A" and "Paradise" which boast an impressive understanding of restraint and minimalism in structure which I thought was long dead. If the rest of the album meets the standard reached in these two tracks, then we're in the runnings for the best of year. My Disco hail from Australia and it doesn't look like they have any immediate plans to visit Chicago or the States which is too bad for us, and too bad for the dying genre.

The new record, Paradise, is available at Stomp Entertainment.

Derek Bailey

Experimental etc. has more D. Bailey improvisations available for download (I mean, like, all of them). Including the link to this amazing video, and others. The timing of Etc's post is uncannily serendipitous, because I've fallen into a deep and incurable obsession with Mr. Bailey's works over the last few weeks. It's really out of control. I haven't seen the sun in days. My friends stopped trying to call me. I don't know who I am anymore.

Damsel

Damsel

Distressed (2006)

Temporary Residence

Nels Cline, guitar; Zach Hill, drums; Jonathan Hischke, bass, bass synths; Matt Zivich, synths

I bought this early last year but it seems lately I've been giving it a ridiculous amount of playing time. I'm not too familiar with any other Z. Hill projects beside Hella, so I'm not sure if he often ventures outside of his metal comfort zone, but he certainly ought to. This album could certainly be defined as avant garde, and I'm not sure that the genre sees drumming like this very often. Nels is at his best on this record, leading the tangents, with his trademark and refined union of free-jazz and free-noise guitar stylings. And Matt Zivich's intelligent noise-making is particularly impressive with it's display of subtlety and restraint, all the while remaining a powerful presence in the quartet. (Apparently he's Wilco's live sound engineer (?), but he ought to do this type of thing more often as well.) And the bass winds around Nels guitar like a true professional. All the elements are in place, here. It is a refreshingly unique improvisational exhibition, a cut above the sort of improvised-noise recording one might be expecting. Recorded in one day.

Listen to this mp3, "Deathwatch on the American Empire". Or at a myspace.
Buy the record here.

'008.003

Three by ZU

One of the many terrible things about being obsessed with noise happens when you find a great record by a band you've never heard of before. Instanly you need everything they've done. The thought of that one great record, just collecting dust out there. You vow to find their every release, and wrangle them in like helpless, lost steer. And then the nightmare thickens as one by one the steer turn up rare, expensive, out of print, or worse, Italian. Zu have such a history of rapid-fire releases and collaborations that I imagine are half-improvised and pressed so fast they themselves forgot about them. That's not even a joke, you think Nels Cline remembers all of his collaborations? Bullshit. Because I know that motherfucker, and I know that motherfucker doesn't!

Here are three OOP by Zu I can't find anywhere.

http://theshapeofchaostocome.blogspot.com/2007/08/zu-discography-1999-2007-12-albums_12.html
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Listen to Zu here. Buy their stuff here.

And I've never met Nels Cline in my life.

'008.002

Here are two more releases that I've had some trouble finding, which the blogosphere has recently, graciously provided.




Derek Bailey
Aida (1981)
Incus
England

Found here:

http://experimentaletc.blogspot.com/2008/01/derek-bailey.html

This sort of instrumentation knocks you upside the head and proves that the music you have been listening to all your life has been boring and colorless and without dimension. I don't think there will ever be a time where I will say I'm done finding Derek Bailey releases, so I can't necessarily say it's my favorite, but this is the best I've heard yet. There are moments in this record that are super-human. And because Art is social, by listening to it, by proxy, you are traversing the new plane right beside him.

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A Short Apnea

Illu Ogod Ellat Rhagedia (Ustrainhustri) -2000
Wallace
Italy

Found here:

http://jizzrelics.blogspot.com/2007/06/short-apnea-illu-ogod-ellat-rhagedia.html


Not as mature or self-assured as the Gorge Trio collaboration, or even the excellent Indigo Ballad, Illu Ogod is the A Short Apnea's, wilder, untamed, uncertain adolescence. It is loaded with daring, unexplored ideas which shift gears at random, refusing to be locked down, shoveling new sounds and combinations of sounds one after the other. If this group wrote the book on artistry in noise-making, then this record is chapter one.

Winter '008

The benefit of so many of these consecutive snowed-in and sub-zero nights is that there's not alot to do besides getting really, really acquainted with your record collection. These sorts of musical benders usually induce an unnatural lust for new sounds, an insurgence of mail orders, and misguided, impulsive, frozen trips to the corner record shop. It seems the ear grows more acute this time of year. This winter I've decided the season's frontier I need to tackle should be the blogosphere. I went out and bought one of those gargantuan hard-drives and I plan on scraping the barrel clean of all sorts of nutso, obscure, rare and out of print gems. Some of my favorite finds so far:

ICP Orchestra

Group Composing, ICP006

Recorded in Rotterdam, 15/5/1970

OOP

Peter Brotzmann: tenor sax, Paul Rutherford: trombone, Han Bennink: percussion, Misha Mengelberg: piano, Evan Parker: tenor and soprano sax, Peter Bennink: alto sax, bagpipes Derek Bailey: guitar.

I can't say enough about this, but I have a suspicion that the more I write, the less people will read. Nevertheless, this is amazing. I really want to say something regarding the 'deep textures' that are improvised by this all-star line-up, but I fear it will sound cliche. But there is depth or some such quality in this recording that I haven't heard in any other to date. My knowledge of such things is still in it's infancy, but I believe that ICP006 is what we should talk about, when we talk about free-jazz.

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http://www.sendspace.com/file/so14ws

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Acoustic Guitar Trio

s/t (2001)

Recorded in Los Angeles, CA

Incus Records

Nels Cline, Rod Poole, and Jim Mcauley

Another bout of improvisation, though this one substantially less aggressive. I spent most of my life trying to convince myself that heart trumps skill, but this type of collaboration makes that brand of idealism hard to sell. The players tread delicately, and are remarkably respectful to the agenda, that is to say, no one at no point monopolizes the music. What most interests me in this recording is the unlikeliness of the partnered guitar lines. Unlikeliness is difficult to intend, and it sounds great here. I found this at Audial Forensics.

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http://audialforensics.blogspot.com/2007/12/improvised-glory.html
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Moreland Audio

Turbogold (2003)
54-40 or Fight Records

Atl., GA

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Well, not this album specifically, but the motherload of Moreland Audio live sets has been made available here. If nothing else, download one set. I assure you that you've not heard composition like this before. Two parts guitar, one part drums. For me, these are the tracks that launched an entire collection, I've spent good dollar after bad trying to find music like this, and at some point just gave up and went onto noise and free-jazz. Salut, Atlanta's finest! Uploads found at Master of None. Buy it proper.

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http://bendavismusic.blogspot.com/2008/01/omnibus-edition-one.html
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Guitar Solos 2

Bailey Frith Fitzgerald Reichel
Guitar Solos 2 (1976)
Caroline Records



So the first Frith upload got me thinking about the second Frith sider, and it occurred to me, that it's never been officially digitalized, and that moreover, it's out of print. So why not rip it for the two or three people who drop in from time to time? I've made a couple of vinyl rips for personal use, and have been sufficiently pleased, but this being the first of it's kind for M&N, I'm open to technical advice or criticism. This particular record is in grade A condition, but understand, it's also thirty plus years old. Ripped with a Rega P1.


Side one
Water/ Struggle/ The North (Frith) 11:05
Only Reflect (Frith) 4:00
Brixton Winter 1976 (G.F. Fitzgerald) 9:40

Side two
Avantlore (Reichel) 3:05
Vain Yookts (Reichel) 3:00
Donnerkuhle (Reichel) 5:05
Virginal (Bailey) 6:20
Praxis (Bailey) 4:00
The Lost Chord (Bailey) 1:50

http://www.sendspace.com/file/7iwvn5

Laddio Bolocko

Laddio Bolocko
The Life and Times of Laddio Bolocko (2002)
No Quarter Records
New York, NY

This is the entire discography of one of the premier noise rock groups of all time. It compiles their three releases from 97, 98 and 2000. The flagship of the Bolocko Armada is undoubtedly the 97 debut, Strange Warmings of, which features six blistering, hypnotic tracks of guitar/bass/drums/sax, among them the profound and mind-splitting opener, 'Goat Lips', which has within it, that stuff of gods, that rarely found, life-changing, metamorphosizing stuff. But you're nuts if you think I'm going to upload it here, because that would be too easy for you. This is serious, man. We're trying to build something here; a transcendental state. And that takes hard work. Only Discipline creates Excellence. Go find it.

In the meantime:

This video came from here.
No Quarter seems to have sold out.
Try Amazon. Music Stack. Ebay.

MMVII

I meant to put this up before the new year, but didn't get around to it-
Tracks from this blog's 2007 picks.

1. 'B is for Burning' - Zs (Arms)
2. '37501' - 37500 Yens (Astero)
3. 'I Hate Clowns' - Black Engine (Klu Klux Klowns)
4. 'Tax Reduction' - The Conformists (Three Hundred)
5. 'James Spader' - Sleeping People (Growing)
6. 'Bump' - Zs (Buck)
7. 'Crime Story' - Home of the Wildcats (Sing Puerto Rican Love Songs)
8. 'Sting Ray and the Beginning of Time' - Exploding Star Orchestra (We are All From Somewhere Else)
9. 'Caved-in Heart Blues' - Nels Cline Singers (Draw Breath)

http://www.sendspace.com/file/xp11hd

Fred Frith

Fred Frith

Guitar Solos (1974)

Caroline Records

London, England

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I just uploaded a fraction of this for someone, and thought why not throw it in here. I remember a while back making a resolution to seek out music that sounded as alien or unearthly as I could find it- or rather, music that sounded completely detached from tradition, and lacking the fingerprints of history. This record is one that genuinely sounds like it was written on Mars. It's still music, but it's using no scales you've ever heard of. It's as though the album is trying really hard to speak your language, but the culture barrier is far too wide to effectively communicate. The first few tracks, which I've packaged here, are a perfect example of this beautiful blend of the other-worldly and the familiar. Frith has way too many projects to keep track of, so if you've any favorites, let me know so I can track them down.

Buy this here.

A Short Apnea

A Short Apnea with Gorge Trio

...Just Arrived (2004)

Wallace Records

At some point, after listening to way too many hip records, you may began to over-think your relationship with music. Throughout your life (and you probably know what I mean, considering you're reading a noise-rock blog) you have acquired this reputation, intentionally or not, as a person who spends a ridiculous amount of time and money on records. And because of this, certain people, naturally, looking to break the ice a bit, will ask you if you've heard the new Radiohead (e.g.), and then tell you how mind-blowing it is. Especially these days, in indie-rock's golden age of sorts, assertions like these can become so profuse, for some of us it's hard to stomach. But it's not arrogance that causes the nausea. It's confusion, really. How is it that so many people still enjoy the same brand of chorus-and-verse lunchmeat every day, breakfast, lunch and dinner? And none of us here are saying that any new trend of indie-rock is indigestible, (it is after all just rhythm and melody, what's not to like about it?) but why dedicate forty minutes of your life to some formula you've heard a thousand times before, this time with mustard?

Naturally, in time, I convinced myself I simply hated music, and that what in fact I wanted to hear was blatant noise; anything with a complete disregard for conventional structures and formulas. But a regrettable series of 'ambient' record recommendations quickly changed my mind about this. The bulk of the genre is good enough for providing atmosphere, which has it's place in any record collection, granted, but it seems incredibly unwise to spend an album's length of your time on anything that fails to engage you, or fails to require your full attention. Good records are not a condiment to your environment, or something to set a mood. They are participatory events. They are not background. Nor are they, for that matter, anything similar to the shockingly ample supply of records that attempt to sound like random, chaotic noise. Because deliberately trying to appear random or chaotic invariably ends up sounding very forced and phony. What I was looking for was a synthesis. An alloy of nothing formulated, nothing dull, and nothing forced.

To find this rare harmony of noise and patterns you have to come to the fringes, the frontier. You have to find a place of natural, unforced lawlessness. In our case, this place is somewhere in Milan, Italy, where Just Arrived was recorded in just three days. The blend is made of guitars, both electric and table, drums, rhodes piano, organ, and tapes, and takes six of the avantiest musicians of the avant-garde to achieve the proper balance. It should really speak for itself, so I won't insult it with any further explanation. Here are tracks 1-3 . Or if you feel you're not quite ready to live outside the indie-rock police-state, then maybe you'll like this album instead. (I heard it's free.)

Buy the CD.

Lustre King

Lustre King
The Money Shot (1996)
Divot/Action Boy
Chicago, IL

Tonight begins a series of six Shellac shows in four days at the Hideout here in Chicago. I'm going to try and catch as many as I can, but right now it's looking like only half of the six. Tonight's show, I've just found out, also happens to feature Mike Lust's Tight Phantomz as an opening act , which naturally has me harkening back to this elegantly scratchy EP from 1996.

Firstly, I have to admit that the Phantomz aren't really my thing. I have the one CD, and it kind of bitez. That being said, frontman Lust still puts on one hell of a live show. It's always plenty full of high leg kicks, jumps, flips, and sometimes that really cool swinging-the-guitar-around-the-waist thing. This standard was set way back in the day when he lead the Chicago three-piece Lustre King, in fact, any time you mention Lustre King to anyone here in the city, it is those antics that they recall first. They'll remember some crazy stunt one of them pulled or how smashed the bassist was one night. And it's all really a shame because beneath the ultra-scratchy guitar tone, and some street-tough shit-talking tin-can vocals, the band played some secretly intelligent music that normally tends to fall by the wayside when the band is discussed.

Listen to the details of this record. Don't let it fool you. It runs past you in just thirteen and a half minutes, so you'll probably have to flip it over and play it again. It's five tracks have a tendency to shift gears mid-way through and become something else. While the guitar is alternating between math-drenched riffage and some really raunchy spats of noise-making, the bass and drums are pulling off some pretty fancy rhythms, some that sputter and some that glide.

Epitonic has two tracks for download, 'Just Hit Town' and 'Gigolo Swing'.
Here is a fansite that has on it some of 1999's Shoot the Messenger, which might interest you, too. Look for the record or CD at Amazon or Music Stack, because I'm pretty sure it's OOP. Or just ask me and I'll upload it.