Art Ensemble Of Chicago-a jackson in your house/message to our folks:

AEOC-a jackson in your

 

Good Grief! The Art Ensemble Of Chicago? These brothas’ really freak the far-out factor with the most thespian fulminations & flotted fanklingings. The culprits responsible for this delirium are Roscoe Mitchell, Joseph Jarman, Lester Bowie, Malachi Favors & Famoudou Don Moye (who had yet to join the junta & is not on these recordings), generally commanding Sax, Trumpet, Bass & flexile degrees of percussion on a myriad of implements & objects which also includes a full drum-kit. But this rabid rumpus also boasts endless gongs, log-drums, sirens, bells & chimes, conga’s, cymbals, whistles, hand horns, maracas & other self-fashioned devices (often termed “the little instruments”). The reeds are also constantly alternated, Soprano, Alto, Bass for the sax along with Clarinets Flutes, Oboe, Flugelhorns & an almost endless extensions of wind-power insistent on perdurable permutation & panoply. Vibes & even an electric guitar are also visible briefly, I suppose anything that can express sound & fall in2 their cache.

The boys also get comic, impersonations, theatrical over-reactions, shouts & ululations, hollers, hoots & howling’s, cantillations & intonations, poetry & piss-taking caricature. & lets get on that piss-taking. Don’t for a second dubiate on the tre-fucking-mendous musical prowess, conception & application of these monoliths of megrim, but understand that they exercise a ceaseless irreverence, intemperate ludic frolicking & humungous humour through-out their performance/metamancy. any accusation of inept musicality/flawed virtuosity would be inadmissible/instantly crushed, but fuming flippancy & severe sonic satire are reckless through much of the units recordings.

With such replete resources & such expert musicianship that operates with premeditated patterns/syncopations as well as predominantly autoschediasmic excursion, traditional time-coherent frames & complete free-fall void-exploration it’s obviously going to be near impossible to suitably summarize this astonishing olio of Avant-Jazz (well shit I gotta’ get something to work off). Deeply diverse & divagating constantly, you get to that fantastic & rare position where you have no idea what’s coming next, sonically, conceptually & even instrumentally.

So isolating some of the merits, for all us User-Hostile severity-junkies out there, these motherfuckers will NOT disappoint. When they are in that gear, which they frequently position, you are assured of having your head trisected & it’s contents scattered through out the four corners. They play some of the fastest, most corybantic & uncompromising smouldering deadly discursive horn harangue this side of the moon to terrorize & traumatize the senses to a state of collapse AT LENGTH! AEOC always had really’ really loud horns, the vigour with which they play, the mic placement or whatever, this is some strident stuff with an element of distortion that makes even the more um, “traditional”? segments an elevated joy to experience. These are definitely some of the loudest cats I have heard, certainly in comparison to other stuff at the time, the horns scream at a prepolleny I rarely here exerted by others. The levigating rapid-fire blow-outs is like watching two wild beasts fight, stupendously frenetic inconsolable sonic-epilepsy. As if Roscoe Mitchell wasn’t an arch bad-ass himself, he is now competing with Bowie & Jarman, stuck in the middle with percussion gnashing at your flanks as the masters battle for who is the most effusively-offensive will elate any User-Hostile die-hard. The lung power of these guys is extraordinary & there are no rules for these tantrums. The horns are often very bestial, like a shrieking chimpanzee or even mimicking industrial vehicles blaring horns before some cataclysmic collision. I detect a considerable inspiration from cartoons, Road Runner & Tom & Gerry, but that may not be a direct theme or intentional inclusion!? it could also be insisted that AEOC are the most Avant-Garde (in the original unadulterated meaning) of the lot. It’s difficult if not futile to think of another unit, certainly by my experience that can compete with the terrifically histrionic ridiculousness-recrudescence & rampancy that these dons consistently conjure. Discounting all the aureate, asperity, wildness & unpredictability of the music, you really need separate consideration to account for their profoundly theatrical construct. From costumes, face paint, poetry, African folklore & the absurd versatility available with such highly skilled multi-instrumentalists & their obvious immoderate intrepidity & complete disregard for audience safety or cogitation, they plough through frontiers that others only really nibble the edges of.

Another recurrent characteristic with this lot is there predilection for irreverence & parody, they play overly mundane or anaemic/generic styles with an excess of exaggeration playful pasquinade & blithe lampooning. substantial ridicule & further facetiousness is operated on “Get In Line” & “Old Time Religion”, with the military & ecclesial pedagoguery getting a basting.

It’s an irresistible formula. The depth of their individualism, their profound musicianship & the extremity of the operations shot into the clouds with a total indifference for reception or acceptance & the obvious kinetic roving mad synergy that they elevated in each other.

This CD combines two LP’s from the Actuel catalogue & is a magnificent starting cue for postulants wanting 2 entreat AEOC’s prodigious back-catalogue. It’s intensely varied sprawling nine tracks, quite rare for them as they mostly rolled out a single sprawl that would be sundered & put on a single 12” (I prefer this more compartmentalized track selection personally). If your into Noisecore or any mad Off-Road, far flung shit, this is essential listening/study. Beyond bad-ass.

Rekd:1969
Label: Actuel/BYG (CD re-release on Charly)

Tamvred – Tintorama 12”LP

Tamvred-tintorama (Low Res)_ed

Whoa! Never heard shit like this before. sonically surprised but not so much to have it rendered by the great Low Res who seem to have made it a habitual practice to spring predominantly really innovative bands/releases.

Tarmvred is off th hook! You what? Well, percussively it’s not Breakcore, but it will break your arse th fuck down with the most absurdly hulking breaks. GOOD-GRIEF! The sky falling in, raining sheet-metal. I can’t compare it to anything else, as much as I hate the term this is possibly the “sickest” sonic’s I’ve heard in drum programming on wax. It can’t be easy cultivating such an absurd sound, PREPOSTEROUS!!! It’s not your colloquial Breaks either, slower & more deliberate massive mechanizations, if a fifty story robot was to drum on the bilge of up-turned frigates or something.

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Sam Rivers – Paragon LP

Sam Rivers - Paragon (1977)_ed

Dominion. We have here the deepest, furthest, lengthiest incision, reaming, projection, or what have you into one (perhaps multiple) of Off-Road Jazz’s facets/sectors ever recorded. Nobody has blazed such an psionic shockingly exigent & ambidextrously adept attempt/voyage/penetration into this vector of the wilderness (whatever vector that is)…NOBODY!

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Sam Rivers – Crystals

Sam Rivers-Crystals (1974)_ed

A particularly extraordinary contribution this one. even by Rivers standards which really have an altitude of their very own, this is a momentously distinctive hall-mark who’s permanent crater will forever be a feature of the Freejazz/Jazz landscape. More than 30 other musicians donate their abilities over six tracks…so it’s an orchestra scenario. I normally really abhor these experiences in Jazz & am generally of the dogma that if you need a huge passel of musicians to convey power or dynamic your obviously at an extreme deficiency.

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Oliver Lake Trio – Zaki CD

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Well, yet again another seminal branch of Avant-Garde/Free Jazz history dashes up for definition. This is no normal moment/operation & the idiosyncratic ordinance & inordinate outpourings that these men bring really are entitled to their own throne room. Lake (sax), M G Jackson (guitar) & Pheeroan akLaff (drums) had been playing together for some years now & have adnated perfectly, cultivating a natural commune & affinity that can so deftly commingle & co-act. The instrumentation itself is pretty avant-garde as it is… sax, drums & electric guitar? In a Free-Jazz idiom? Not an every album occurrence (certainly back then), but the forces behind these instruments in no way devise in the typical territories.

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Oliver Lake – Shine!

Oliver Lake-Shine!_ed

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.

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Industrial Holocaust – The Holocaust Cintinues 7”EP

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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!

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Government Alpha – Seventh Continent CD

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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.

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Final Exit/Deche Charge Split 7”

Final Exit-surf 74_ed

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.

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Delien – Aon 12”LP

Delien-aon (Low Res)_ed

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).

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