Out of all the experimental musicians I love, I find that Bhob Rainey is among the most consistently interesting ones working today. Even though Rainey’s compositions often employ a wide variety of different tools and span an array of experimental sub-genres, all of his work is united in it’s subtle use of space, dynamics, and texture. “Levitate” is Rainey’s soundtrack to a film by Leah Ross, and the piece finds the composer working in a surprisingly ambient vein while still maintaining many of his oeuvre’s signifiers. “Levitate” doesn’t have any of Rainey’s signature sax playing on, it but his use of various field recordings and toys often sound eerily similar to some of his nmperign work. Throughout, Rainey’s electroacoustic sounds blend with Chris Forsyth’s lovely guitar harmonics and some truly guttural low frequencies to create a lovely piece that’s reminiscent of the work of Olivia Block and Oren Ambarchi. However, “Levitate” remains distinctly Rainey’s own, and his decision to highlight found-sounds similar to his own playing style serves to show both the influence of the outside world on his approach to saxophone and how his compositional voice shines through, no matter what tools he chooses to work with.
You can listen to and/or download “Levitate” from Bhob Rainey’s soundcloud below:
• Bhob Rainey http://www.bhobrainey.net/music
Not one to mince his words, Keith Moliné has minced his previously unminced words into sound mince. Hatchet job is a pantheon to critical assassination under Moliné ‘s pen, tossing ten years of negative writing (burnished by the sonorous tones of simple text) into a Large Hadron Collider of hate. By contrast, I Only Asked smothers recordings of questions asked of his own musical practices in sound, reducing his interviewers to a mere bunch of rusty gasping robots.
What to make of Moliné’s mince? Is it rejection of the critical process as nothing but an inane exercise? Is it an attempt to build creativity out of the ashes of an essentially negative process? You decide...
“ESP-Disk’ 50th Anniversary Party” [live]
Free-jazz/noise/avant-rock warlords Tiger Hatchery recently finished up a midwest -> east coast tour that had true heads raving across the nation. The band stopped in Brooklyn to pound out a typically mammoth set in honor of the release of their album Sun Worship and the 50th Anniversary of their label ESP-Disk’ — and by the grace of some heathen god, they’ve posted a video of the full set, complete with legit audio quality and a camera angle from which one can view the trio in action at all times. Without spoiling too much, I can tell you that the set: [A - showcases three savage improvisers wailing together, in duo configurations, and solo] [B - features inspired use of props] [C - will knock you on your ass]. After Part 1 ends, Parts 2 and 3 beckon you from the related videos on the right side of the screen.
Since November 1 marks the beginning of the Holiday Season on the time-bending and malevolent calendar of international commerce, I’ve chosen to interpret this Tiger Hatchery set as a personal gift from Mssrs. Billington, Forbes, and Young to us, wrapped in snapped bass strings and drumstick shrapnel, conveyed across the webtubes, and smashed into our slack-jawed faces. We should all chip in and buy them a personalized mug that reads “World’s Greatest Shredders,” which the trio can then mail back and forth between their respective homes on opposite sides of the country. Each sip taken from this mug will compel the Hatch men to shed the responsibilities of their families and day jobs, reunite again, and get back on the road to tour forevermore. This is a brilliant plan and it will succeed.
Sun Worship is available now on LP and CD and if you haven’t ordered your copy yet, I just don’t know what to say to you anymore.
Need some bubbly bass lines to wash down the cranberries and stuffing? How about some creamy synths to drizzle over that slab of tryptophan? Taste the fresh delicious sounds of New Orleans-based reel-rider MJ Guider! As part of California tape label Constellation Tatsu’s upcoming December batch of cassettes, MJ Guider’s debut album Green Plastic is just in time for the coming celebrations of laziness and thankfulness. “Prima,” the first single off the impending release, is a cavernous psych jam that swallows up the listener in dark, warm, gooey vibes. Dig this jam for now, and keep an eye out for the December batch, which will also include releases from Pulse Emitter and Hakobune!
“Walls of Jericho Pt.2”
Earlier this year, Dean Blunt released one of the most captivating, unexpectedly solemn albums of the year with The Redeemer, and today, we have a video for a new song that revisits one of its standout tracks. It’s called “Walls of Jericho Pt.2,” and the video features a silhouetted Blunt, still obsessed and still bitter, singing to a body of water about his expectation of his former lover — who ran away on part one — coming back to him: “I know times can get so hollow/ And I try to leave you be/ But by the time you get to hear this/ You’ll be running back to me.”
The ebbing and flowing tides, the dawn of a new day: the setting signifies hope, but time hasn’t healed his wounds yet. Blunt’s gaze toward the sunrise mostly just sheds light on his lingering misery.
• Dean Blunt: https://soundcloud.com/cplnd
“All Things Break Through”
No doubt about it, Freelove Fenner is one clean-cut combo, plain and simple-like, and I’m not just talking about their hair or classy button-down shirts. But even with the snare dry as a bone like it is, and the crystalline clean guitar; none of it exactly sparkles. No, the tone of this Montreál trio is forever-sepia, feels as antique as the antiquity of pop itself, but – if I may – a distinction and maybe the grainy, JLK-starring clip for “All Things Break Through” below can help explain a little: There’s no looking back here, no worshipping of lost idols or summoning of ‘forgotten’ ghosts. It’s not old, nor is it a copy of something that is - Freelove Fenner simply exists there, and wherever “there” is isn’t so much a debatable time period as it is a lazily unanswered question, the kind you might happen upon in a daydream. Kasowicz seems lost without consequence in the video, chancing her path by the roll of a die, and when she does find something – a relic of a specific time – she’s quick to bury it, light another cigarette, and move on. And in its stumbling through the ages, Freelove Fenner is also somewhat ageless; polished and poised, pop music that is exquisitely, is naturally all its own.
“All Things Break Through” and other charmers can be found on the band’s first full-length album Do Not Affect a Breezy Manner, which follows last year’s wonderful Pineapple Hair EP, all of it courtesy of the fine folks at Fixture Records.