Here’s a one of Lake’s more obscure/overlooked projections. I can’t see why as it’s another scintillating discharge of baroque densely detailed mellifluent odd & erratic Avant-Garde mastery that strolls it’s own disparate track with stark individuality. Core associates Pheeroan akLaff & Michael Gregory Jackson are once again entwined, performing two of the four trax as a trio with Lake on side two, & joined by the rather aberrant compository of three violins, a cello (bowed by the excellent Abdul Wadud) & a piano (Anthony Davis) for the A-side’s two tunes. Lake composes all tracks & they veer & contrast considerably between massively chaotic free-formations, highly melodious & abject atonal, soft & frenzied, coherent & agitated all with Lakes signature of super graceful amazingly controlled sapiential complexity & gigantic virtuosity.
Here’s a real nice shred of wax dislodged from th turgescent aperture of Rage For All. This B&W shabby-arsed generically packaged EP encompassing th crudest cut & paste effort that could be attributed/claimed by/to thousands of Grind/Crust archetypes & epigones th world over, with sections of th collage actually blown up so much that they begin to pixelate had me apprehensive of some standardized plebeian tenuous toss turning my tanning sesh into a mud-bath!
Seven shocks on which I believe is his best album so far. To confirm a canard, Government Alpha, the one man wrecking-ball psychedelic-Stridor ultra-harsh demolition specialist from Tokyo is frequently liturgized as the harshest Stentorian of them all. His high-frequency stuff probably is unrivalled? The bassier blunt cacophonic churnings that is the formula for most Harsh Noise has preposterous potency, but I’m not convinced it surpasses early M150 recordings which I think take the blunt-force trauma Stridor prepotency ubiety. Irrespective, this is undoubtedly some of the harshest most unremitting Stridor conflagration. GA is one of the very best, for quality, adversity & a rare quality in Stridor/Noise-diversity. Many different devices are utilized with an above average largesse for variation. The equipment & methodology vary from track to track where as most Noise albums I hear seem to use one gradient/gamut for the entire album, rearranging the same ingredients. This generally saves GA from the weary Stridor monotony.
Sublime! you should all fucking know about Final Exit by now? They are a Tokyo based NoSkoolNoyzcore duo, one of the best & most distinctive Noisegrind bands of all time with a long lineage beginning in the early 90’s. they are also committed to perhaps the smallest musical movement in history, No-Skool-Noyzcore/Gunk, i.e. sedulous Noisecore with effort & input practiced by literally something like x15 bands (presuming you exclude FreeJazz) over the last 20 years or so. They are fabulous musicians commanding an immensely assiduous tightness playing on most of there recordings with profound syncopation & coordinated-kinetics …. This is controlled chaos. They have personalized an utterly unique brand of Gunk, where they phase between professionally played Rock, Surf, Jazz, Blues, Grind, Metal & a medley of other niche & standard genres with absolute out-&-out BlurNoise, just one massive sodden saturation of total Bleeeurk, either encompassing extremely low-end-bassy indiscernible distortion or/& ultra fast strangled speed-picking high-fret percolation whilst drums blast-blur & tumble with signature pogo cymbal smashes & stumbling fills.
Yet another delectable dosage from Low Res. Getting started Delien resist an ascribed genre. I’ll observe as “glitchy down-tempo experimental digital distortion funk” for the hell of it. Half of the phonetics assumed seem to be sourced from the old Snes, Game Boy & 80’s Coin-Up modules which are then expertly activated as percussion &/or harmonic components. So the kick sound might be a ray-gun burst or the death rattle of the last boss. Pretty much everything has a substantial tunica of distortion yet all is high-fidelity (which makes the distortion all the more cool really).
PREFACE INFO FLASH! : dammit! i wrote this over a year ago & have just resurrected it with new additions. these notes were jotted whilst listening/spinning th record with maximum attention (obviously after many listening’s). going back to it again now (and re-listening as I write) i realize that i have mixed up descriptives rather than having a progressing cogent assessment of each side from start to finish. ta’ hell with it! it’s totally jumbled but so is th music, & yu can see it as random speculation on these immense energies/scenes/sections encapsulated on th recording.
B-syd: this syd emerges from where the last digressed. things finally relent, Cyrille is prodding & skittering on th rims of his drums, Rivers is howling distended maledictions, Taylor is spuming gibberish infantile lallation. messing around with vowels, i don’t know what the guy is doing, probably he doesn’t either? unsettling, awesome. a strange five minute phase of pacified but louring Avant-Garde ensues, with th musicians all contributing then detracting around Taylor, casting off sonic motifs to a totem-pole or sumthin’.
Prolific debauchery & plenty of it! an edgy, intemperate leviathan casting a pall of threat as well as riotous wonder & technical brilliance Cecil Taylor’s splendour trails for fuckin’ decades & frequently clambers to unimaginable alcoves. so’ so much could be drafted, but this review will concentrate on the Nuits De La Fondation Maeght trilogy recordings (captured during live group performances in France in 1969), which for me has so far been his best work from a particularly enigmatic period. Taylor was playing sprawling immeasurably intense reckless refulgence & asymmetrical avant wizardry with the insane Andrew Cyrille, for me indubitably one of the most fantastic & original drummers ever. out of the many things that could be said, I would emphasise that Taylor & his unit redefined the elongated-outburst & prolonged-peaking coming with ceaseless surging’s of unparalleled clamour & volatility. frequently without intervals, extenuation or cessation they would dance an immensely detailed & dynamic squall within the singularity of remorseless & unforgiving outermost, fully-cyclic, hell-for-leather frenzy. a heteronomous hurricane & blitzing blizzard of ebullient fulmination Cyrille was able to maintain physically these momentous requirements but also inflect with a cycle of extensive improvisational embellishment & continually capricious contrasting.
Another divine relic of Freejazz optimum. This preposterously passionate murrain of bone searing instability is a personal favourite & I would say an unquestionable highlight of the entire Freejazz tenure.
The most intense & assaulting album of Shepp’s career! with barely a pause in the pyromania, this screaming sax slaughter over-loads the listener like some giant back-draft fulfilling it’s full blast radius & rinsing the parameter in prolonged cataclysm. pretty much full auto… even as the A-syd fades after a seventeen minute + spate, the flailing continues.
Adjust devise a hybrid of what I would define as Electronic beat-propelled Fusion. There are four trax that diverge considerably. Nerve & Escape From Detroit can be allotted loosely into some kind of down tempo IDM Electronica with a visible digital Hip-Hop pigment. The two others Scorch & Behavior Modification temporize entirely, & stand as a unique encounters of Extreme Digital Fusion. I say extreme not from adversity but more extensiveness, with astonishingly unpredictable & polymerous range, features & content. A constantly shape shifting receptacle for digital formation rather than a set substance. In that much the material or rubric/style is practically impossible to replicate, as Adjust have not committed or determined their own form fully. Pretty fukn cool.