Selasa, 29 Mei 2012

Aruan Ortiz: Orbiting

Aruan Ortiz (piano)
Orbiting (Fresh Sound/New Talent; 2012)
Eric McPherson (drums)
David Gilmore (guitar)
Rashaan Carter (bass)

Aruan Ortiz was one of the outstanding contributors to Esperanza Spalding little known first album, Junjo. His playing is calculating and well developed. I freely admit that I don't own much other than his previous quartet record and the Spalding album but I really believe he is a serious rising talent.

Only on the scene for a few years, he is slowly becoming a well known name within the scene. His style at times reminds me of a young Chick Corea. 

His second (fourth as leader) album with his quartet, Orbiting is a wonderful and elegantly executed session that takes chances when needed and stays reverent on others. "Orbiting" features a set of stellar performances by Ortiz and Gilmore. Ortiz seems to move freely and applies a great deal of emotion with each chord. Gilmore's patterns add a nice groove that also turns bluesy on the next track "The Heir." This number includes a number sparkling movements by Ortiz and McPherson that ascend into a massive crescendo towards the end.

Ortiz shows adventure and inspiration with his version of Ornette Coleman's "WRU." A good dose of improvisation by Ortiz and Carter. Their movement together is fluid yet pulsating.

Deep, emotional and intensely rewarding. Aruan Ortiz has produced a superb collection that pretty much everyone will find a big surprise. Orbiting is modern yet still rooted in tradition. Highly Recommended.

Jumat, 25 Mei 2012

Ballrogg: Cabin Music

Ballrogg (trio)
Cabin Music (Hubro Music; 2012)
Ivar Grydeland (guitar)
Klaus Ellerhusen Holm (sax, clarinet, electronics)
Roger Arntzen (bass)

Ballrogg started as a duo exploring minimalist motifs with guest musicians joining in the creation of their organic sounds. Now expanded to a full trio with the addition of Ivar Grydeland, Ballrogg feel very expansive and even more creative. With their brilliant new album, Cabin Music, you'll actually want to go out and tell as many friends as possible.

Opening on an experimental folk tone with "Swedish Country" uniquely describes the Scandinavian musical landscape. A rolling pattern led by Grydeland's pedal steel guitar and swirling notes from Ellerhusen on clarinet make this journey beautiful and transcendent.

"Sliding Doors" is built on a repeating chord led Arntzen. Rydeland and Ellerhusen both improvise around it with creative resonate effect. The piece has a number of ebbs and flows that eventually led to Ellerhusen's sax gently riding the piece to its closing.

A short album (four tracks at a total of 35 minutes), Cabin Music still conjures up a great deal of inventiveness. An interesting comparison might the American low-fi trio Low which has crafted this ethereal minimalist folk for over two decades. Ballrogg, though, have manage to add a cold European beauty this sound that makes more than just meditative. It becomes enriching, passionate and reflective. Cabin Music sees this new trio bursting with new found direction.

Selasa, 22 Mei 2012

Alon Nechushtan: Dark Forces

Alon Nechushtan (piano, composer)
Dark Forces (Creative Sources Records; 2011)
Mark Dresser (bass)  Oleg Raskin (sax)
Ned Rothenberg (clarinet)  Robert Dick (flute)
Steve Swell (trombone)  Nate Wooley (trumpet)
Okkyung Lee (cello)  Eliot Sharp (guitar)
Henry Kaiser (guitar)  Briggan Kraus (sax)
Marcus Rojas (tuba)

I've only recently discovered Alon Nechushtan's music (as leader) over the last year. Releasing two radically different records in 2011 is surprising. But for both to be so solid and inspiring is strong evidence that Nechushtan is becoming a important name on the scene.


I've discussed his early 2011 album, Words Beyond, with the latter year end release of Dark Forces, Nechushtan has made wider leap forward in the avant garde community.

Dark Forces is cerebral--and yes, dark. You might even call it, "a headphone record." Originally written and performed in live in 2006 (only now finally put on record), is densely packed with layers of slightly audible tones. This is a large ensemble spread over ten movements. And while  each member doesn't really standout (probably by Nechushtan's design), the overall sum of the parts is intense and very rewarding.

"Dark Forces II" employes a number of manipulated effects and electronics surrounded by some haunting sounds by the wind instruments. With "Dark Force III," Nechushtan manages to blend an ethereal esthetic into classical realism which makes for a fascinating experience. Both Dresser and Lee have some heavy exchanges which carry the piece through beautifully.

"Dark Forces VII" rolls along hypnotically on the found sounds and Wooley's ghostly trumpet. The guitars quietly blend into the background allowing Rojas to rise up in the mix. "Dark Forces X" leaves its final impression like a piece that could easily slide along side a Throbbing Gristle record.

Dark Forces feels like it could easily be a work for installations or an experimental dance company. But as a stand alone piece, Dark Forces is a deceptively effective work from a composer who seems to be a great more adventurous with each record. Well worth seeking out.

Senin, 21 Mei 2012

McPhee & Haker-Flaten: Brooklyn DNA

Joe McPhee (sax, trumpet)
Ingebrigt Haker-Flaten (bass)
Brooklyn DNA (Clean Feed; 2012)

Revolving around the organic energy of Brooklyn (a borough of New York City), Joe McPhee and Ingebrigt Haker-Flaten create a work that is inspired by their surroundings as well as their jazz forefathers. Brooklyn DNA is one of those shining beacons that helps others see the vibrancy and diversity of New York free form scene.

"Crossing The Bridge" and "Spirit Cry" quietly bring the listener into the spacious and inventive quarters of these renown musicians. A playful march with beautiful intersecting lines by McPhee that connect the two opening pieces with crisp fluidity. Haker-Flaten's bass lines, while improvised, are subtle but matches McPhee chords with every step.

The ballad "Blue Coronet," dedicated to the famous jazz club of the '60s, is a late night walk on the streets, feeling the vibe of the neighborhood and how it influences your sound and vision. "Here And Now" is the perfect conclusion to this journey. A number that embodies the jazz scene today while still reflective of the traditions it's built on. Calm improvisational chords by both musicians bold lines and immediacy as the piece reaches its latter stages.

Brooklyn DNA is not just a travelogue through the boroughs great jazz history, its a document of the quiet brilliance of two intercontinental musicians. Highly Recommended.

Jumat, 18 Mei 2012

Resonance Ensemble: What Country Is This?

Resonance Ensemble
What Country Is This? (Not Two Records; 2012)
Ken Vandermark (sax, clarinet) 
Mikolaj Trzaska (sax, clarinet)
Michael Zerang (drums)
Tim Daisy (drums)
Steve Swell (trombone)
Per -Ake Holmander (tuba)
Dave Rempis (sax)
Magnus Broo (trumpet)
Waclaw Zimpel (clarinet)

One of Ken Vandermark's larger ensembles, Resonance, has always expressed itself with poetic vibrancy. On the groups latest, What Country Is This?, they again explore sound through a series of rising arches and steady calms. And as usual, spanning three long epic pieces that investigate some of the influences of Vandermark.

"Fabric Monument" (dedicated to Polish poet, Czeslaw Milosz) drops down like an anvil with intersecting horn sections opening up in fine Ornette Coleman, Albert Ayler fashion while later settling down into a dark sprawling, almost New Orleans funeral celebration. The second piece "Acoustic Fence" illustrates a series of ascending themes with the ensemble in devilish marching mode. Dedicated to the great Polish composer, Witold Lutoslawski, this piece has multiple layers and varying harmonic structures. Broo and Swell lead the group through a series of crackling improvised movements off-set by some terrific work on the drums by Daisy and Zerang.

The final piece is dedicated to the late, Fred Anderson. "Open Window Theory," is a great showcase of how the American and European free form ethos has evolved over the last two decades. Opening brightly and hovering just overhead, Vandermark and company deliver a message that has a chamber ensemble quality to it. The sound is broken into jagged chords and quickly electrified by Trzaska and Zimpel. Rempis, Vandermark and Holmlander each pour a great deal of haunting muted tones across the canvas before the rest of the group rejoin and turn the piece into a funky, Chicago blues style portrait. While Anderson was never a funky player, Resonance show the explosive and exploratory nature that embodied Anderson's music for over four decades.

Vandermark's Resonance Ensemble continues to astound with each record. What Country Is This? is just another brick in the foundation of one his best ensembles outside of the Vandermark 5. Definitely an album of the year on our desk. But isn't every Ken Vandermark record!?!

Senin, 14 Mei 2012

Lorenzo Feliciati: Frequent Flyer

Lorenzo Feliciati (bass, guitar, electronics)
Frequent Flyer (Rare Noise Records; 2012)

I hadn't really listened to much of Lorenzo Feliciati music before but this latest release has got me intrigued. Frequent Flyer is a surprising record that spans both rock and jazz. And while his roots have always been firmly planted in both genres, this album seems to beam with more urgency and cohesion.


The addition of a diverse selection of musicians from both musical camps adds to the intense and exciting dynamic of this session.

"The Fastwing Park Rules" sees Feliciati laying out a dark set of tones that are both bluesy, romantic and still futuristic. The basslines are slow and revolving, while Bob Mitzer adds a great deal of impassioned chords on top of Feliciati's notes. Rich and very effective. Wayne Shorter's "Footprints" (made famous by both Miles Davis and Wayne Shorter at different time periods) receives a very funky Latin twist. Feliciati gives an interesting rendition that I had never thought about. The drum work from Gualdi is fierce. Hearing Miles' lines as a bass is very shocking and turns out to be really cool.

"Perceptions" provide a calming cover to the pulsating rhythms that proceed it. It's an ethereal journey whistling with gentle piano melodies and drones that quietly reminded me of Durritti Column or mid-period Cocteau Twins. This was outstanding only until you get to the next track, "The White Shadow Story" which pulls in both atmospherics and blues elements provided by Daniele Gottardo's guitar and DJ Skizo's manipulations. It's swirling and hypnotic but yet slings a very funky vibe.

Feliciati waits 35 plus minutes to unleash the crowning moment of Frequent Flyer with a rousing version of King Crimson's "Thela Hun Ginjeet." The Crimson classic is a perfect challenge for Feliciati's bass talents and he delivers with a crushing display. In addition, he does surprising very well on Adrian Belew's vocals.

Frequent Flyer is aggressive, bold and uncompromising. Lorenzo Feliciati delivers a document that really blew me away and has quickly become a recurring listen on my stereo. Frequent Flyer doesn't break the wheel of jazz fusion but it does present a constant and ambitious movement forward.

Rabu, 09 Mei 2012

The Intersection: Sobura


The Intersection is an ongoing feature on jazzmusic24 that looks at artists that have blended jazz and electronica in new and highly creative ways.

Sobura (drums, electronics)
Organic Lo-Fi (U Know Me Records; 2012)

Jazztronica is always a hard sub genre for my friends to grasp. It's one of the natural extensions for the newer generation of musicians. Moving technology into the schematics of jazz to create new sounds and thoughts is just part of musical evolution.


That concept has been present in European jazz for the last two decades and one of the newest talents to utilize these themes is Wojtek Sobura

On the Polish drummers debut, Organic Lo-Fi, he fills the speakers with pulsating trip hop beats, ethereal electronics and rolling drum patterns that create a surrealistic and infectious world view.

"Blue Rooms" starts off in a romantic rhythm that almost reminded me of Martin Denny before slipping into more slow funky drummer beat pattern. There are recurring looped piano notes and electronic tones that add an ambient quality to the piece that will bolster your mood and hold your attention.

"Psycho" feels like your head has been shoved into a toilet during a pub fight. Bubbling repetitive beats that still present a sense of experimentation and excitement that you just don't get on the American shores. "Turkey" has this scary cinematic sci-fi vibe that got me thinking about Japanese monster movies (I've also been watching a lot of Japanese monster movies lately. So go figure...). The electronic manipulation Sobura demonstrates here is probably the most adventurous on the album. It's loud, chaotic and dominating. Big beats like a Roots Manuva instrumental track. "Turkey" is arguably my favourite track on the album right now.

"Bells" closes out this groovy little adventure. No letting up here by Sobura. It's a heavy tone that features some nice effects and drum loops. Short (just under 3 minutes), but it leaves the lasting impression that Organic Lo-Fi is a rich and well balance affair.

Wojtek Sobura has a very specific way of playing that maintains focus and becomes enveloping. It is the compositions that he has written that really are the driving force on Organic Lo-Fi. They are captivating and indicative of an artist wanting to explore new sounds and directions. A very impressive debut that is worth seeking out.

Senin, 07 Mei 2012

SURVIVALIST AND DOOMSDAY PREPPERS--- Oxygen Therapies



SURVIVALIST AND DOOMSDAY PREPPERS ULTIMATE MEDICINE GUIDE


ALTERNATIVE SOLUTIONS OFF THE GRID


Part Two:  Oxygen Therapies

Note For Part One: for those who disbelieve ultrasound frequencies can kill a germ, check out this brief dental reference:


Sometimes a device may be electric,known as an ultrasonicor sonic scaler. Ultrasonic scalers vibrate at a frequency that breaks down bacterial cell membranes and removes both plaque and calculus. Hand instruments are used to complete the fine hand scaling that removes anything the ultrasonic scaler left behind.”




There are many other references from industry but suffice it to say that the FDA does not like a device that kills most germs and threatens to replace the pharmaceutical industry which is their reason for being.


Jumping right into the fray, (You can read part one), we come to a completely different yet as effective, oxygen therapy.  We don’t want to go into depth here because there are hundreds or even thousands  of papers on this subject, since it has been known and practiced for over a hundred years.  The famous Nicola Tesla may have been the first to build an ozone generator for the purpose of treatment, but we will come back to ozone in a minute. For an in depth study of the subject, see references at end.


The several standard forms of O2 therapy are:


Hydrogen peroxide:             May not be practical for survivalists long term. It breaks down over time and it is really hard to make, although Nature does a great job.  Normal rain has it, new born babes get it in breast milk, and our cells make minute amounts of it to kill germs.  Heavy to carry, and cannot be stored for longer than a few years if kept cool and dark, so;


Hyperbaric Oxygen: This is oxygen under pressure and is delivered in a contraption resembling an iron lung.  This too, is very impractical only because the power and oxygen it takes would be again hard to furnish in a survivalist scenario.  You might have a concentrator but that added to the chamber would require large amounts of power.  Impractical, so;


Ozone:           This demands some more explanation.  Ozone is highly active oxygen and is O3 having an extra atom of Oxygen.  It is unstable and when it breaks down the renegade O1 atom is chemically very hungry. It goes after whatever it can find to balance it electrically.  Since most if not all pathogens harmful to animals, are anaerobic (which means they hate oxygen), this little hunter chemical burns up or neutralizes any germ in its path.  Ozone in fact, has been used in alternative medicine for over 70 years and is actively used by thousands of doctors outside the USA!  It is a wide band approach since it kills all things anaerobic (that hate oxygen). See OZONE IN MEDICINE.  Would you believe Dr. Warburg won a Nobel prize for his work that showed cancer cannot live in an oxygen rich environment? See:




Shocked? Well, your doctor might be too, since the establishment has spent years trying to brainwash him and the public into believing that ozone is smog. In fact, ozone is Nature’s way of neutralizing pollution of all types (IS OZONE REALLY THE CULPRIT?). Ask why many municipal water systems use ozone to purify public drinking water before it goes into  the pipes to your home e.g. North Hollywood, CA?  see Arizona Ozone,also great article from Water and Waste Digest.


But we wander. This is only a brief pointer toward more detailed info.


Ozone Generators:   Are of two types. 1)  A device that operates on ordinary air (mostly Nitrogen and oxygen), takes the oxygen and turns a small portion into ozone.  Many air cleaners, water cleaners and industrial apps like cleaning up mold and getting rid of smoke smells from fires, etc. use this method (Israeli industrial generators have been used in hospitals).  The gold medalist Mark Spitz refused to swim in a chlorinated pool and had his own ozone pool cleaner.  This is a good device for our purposes because it requires little power.  But its healing capacity is very limited due to the restrictions limiting the ozone content, put on by Federal and some state governments. (CA just passed a law to limit ozone generators). 


There are generators that make a great amount of ozone from the air and this can be enough to kill air borne and water borne pathogens.  It can be effective in healing but it takes time since the  concept one has to understand, is to saturate the area or tissues with enough oxygen to be effective, e.g. the hyperbaric chamber is effective precisely because it forces this concentration due to increased pressure.


The ideal is a generator that works off of pure oxygen and this is known as a medical grade generator.  The problem for us is, how does one fill the tank in a off the grid situation.  Again, a concentrator is one solution if you have the energy it takes.  Then, with the right ozone generator being fed with the higher percentage of oxygen, you would have the high percentage of ozone/oxygen it takes to treat serious diseases (the standard varies between 3% to 5% of ozone to pure oxygen).  There are machines that combine both qualities, i.e. air production and pure oxygen production and this is our preference. Some tinkering might be required but not much.


A machine or generator that can switch from using regular air to using pure oxygen would be ideal in any doomsday situation especially if its energy consumption were very small.  There are no known pathogens that can withstand a steady barrage of 5% + ozone for a few minutes. 


The best one we have found is OxyTech.  It is very light and portable and is stingy with  power. Also, little known by most is the wonderful cleansing and healing effect of steam ozone therapy.  Tom Cruise was very instrumental in helping 911 fireman detoxify using this approach.  All this info is available on the internet.   We have used the Oxy Tech machine and find it very useful; it has tremendous ozone producing capacity, requires only a few watts, can use air or an oxygen tank with the flip of a switch, and has a great warranty. 


It is impossible to due ozone justice in this short blog.  The clinical studies are endless. It has been used successfully on aids, cancer, lyme and many other diseases.  It is used in Germany and other countries by doctors since the FDA in Germany is not as restrictive, at least with doctors, as here in the US. It can be applied in many ways ranging from insuflation, to injection to bagging, etc.. Please see articles.  It is a great addition to the survival medicine repertoire and you should not wait to become acquainted with its many applications.  (Again, we are not doctors and are not making specific recommendations. Consult your alternative doctor)


Very good article:




Best Books on subject: Flood Your Body With Oxygen by Ed McCabe.


Next chapter we will discuss colloidal silver and some other herbs etc.  



Niels Lyhne Lokkegaard: Vesper

Niels Lyhne Lokkegaard (sax)
Vesper (Hiatus; 2012)
Jakob Bro (guitar)
Ole Visby (clarinet)
Birgit Bogh Sonderiis (clarinet)
Mette Alro Stoktoft (clarinet)
Jakob Buchanan (flugelhorn)
Marilyn Mazur (percussion)

Niels Lyhne Lokkegaard has matured with each record. His style has always been dense and emotional but it has grown deeper and more atmospheric with each release.

On his fourth album, Vesper, Niels Lyhne Lokkegaard has created a grand and ambitious work that simply overshadows anything else he's done to date. It's a massive achievement--brilliantly written and performed.

The Danish saxophonist sets the tone for that on the title track with a suite that is dark, ethereal and arching. "Vesper I-IV" contains some lovely lyrical patterns. Lokkegaard places special focus on the wind instruments to emphasize the harmony. Jakob Bro's guitar provides the sonic sculpture that delivers the gentle impact throughout the the suite. Buchanan and Bro share an expansive conversation on the final movement  - haunting and beautiful.

Lokkegaard utilizes space and tempo on "The Lover," a ballad that is as poetic as it is cinematic. Mazur illustrates her unique brilliance on "Alogl I-II." Her brushes and percussion are percolating and tantalizing. Lokkegaard creates a lush atmosphere that reminded me of recent work by Stanko or Rava.

Vesper is Niels Lyhne Lokkegaard most dynamic statement yet. It's beautiful like a clear night sky and shows the blossoming of a strong composer and musician. Vesper will be one of our favourite albums of 2012. Highly Recommended.

Jumat, 04 Mei 2012

TIME SHARING ALTERNATIVE MEDICAL DEVICES



TIME SHARING ALTERNATIVE MEDICAL DEVICES
 TO SAVE MONEY


Part One:  MAGNETIC THERAPY


You might not have heard of magnetic  therapy.  It has been extensively applied for many years using both static and pulse magnetic fields in alternative medicine but has not yet achieved FDA approval or wide acceptance by the public.   Many famous alternative doctors have praised magnetic therapy quite highly.  See end of article for some reference articles.




Static and pulsed magnetic fields have their differences but are very similar in effects.  Whereas the static approach may require a magnet weighing thousands of pounds and hundreds of hours of therapy, a pulse magnetic device can attain its goal with a relatively portable unit and a lot less time.  The physics are too complex for this brief article. They both have their advantages, but it is hard to find the several ton, static magnets in a town near you.  (Also, we are not saying that small magnets are not useful; they just cannot compare in efficacy to larger, more sophisticated and more powerful units.)


What is important is the sometimes astounding results that are affected by magnetic therapy  although no claims can be made at this time without the completion of IRBs being run for FDA approval.  We scanned the internet for familiar clinics we used to know about and could not find them.  They may still be there, but are not easy to locate.  Our friend who was a highly renowned orthopedic surgeon, ran one for several years but has apparently retired.  The reputable clinics may have had to move off shore to avoid harassment from the establishment.  No one likes competition, especially if it is better.


We have found several devices that offer varying degrees of professional strength treatment possibilities, and these are all under the classification of pulsed magnetic therapy.  Only one unit seems to have the “juice” to get the results sought, the HMP by physicist and inventor Gary Wade.  There may be others but we are not aware of them at this time.  The closest is a clone (The P3) to this original machine which has basically the same internals but is offered at a much higher price; perhaps due to marketing costs?  In any event, the one we found, is built in accordance with a commissioning agreement by the inventor himself,  and  is basically meant for treatment of horses and other large animals.  It is offered as an experimental device under current law and can be acquired for around 12.5K. 


This seems a lot unless you compare it to comparable devices like the Papimi which goes for  many times that amount if you can find it.  It was banned in the US for some obscure reason.  But, that is not unusual in the US where most effective alternative devices are banned or ridiculed as quackery by hired disinformation specialists, or the FDA, AMA, peer review boards, etc.;  one of the short-comings  of corporatism run amuck.


If you have been patient enough to get this far, then you shall be rewarded.  We came up with an idea, (not new or original) for the peasant class, (those of us not in the 1% bracket who can afford to buy it or go to a swanky resort offshore etc.) to afford an otherwise expensive machine.  Time shares have worked in the past when real estate was in its golden years,  and a similar idea would work well with alternative medical devices.  Or, perhaps some kind of health club limited to a few members who invest in such a device and share it fairly.  Of course, “fairly” is the operative word.  But this could be easily worked out with a simple written letter and notarized.  We cannot offer legal advice as to how this would work.  Perhaps, if there were four people, they would each own 25% and each pay 25% of the price. Each would be able use the device a quarter of the time, which could be split any way that was fair.  Any combination of percentages would work since some members of the group might only need to use it 10% or more like 30%.  Seems a good way to afford something like this, since when we are using a therapeutic device, it is not constant and we have to account for the time the body requires to heal, repair and eliminate toxins etc.  Plenty of time for others to use it wisely.  The only limitation we found was the weight due to the rather heavy electro-magnet.  One healthy person can move the device but it would be more appropriate to have it remain in one stable location.


AGAIN, we are not recommending the HMP or Horse Magnetic Pulser for human use although we have tried it many times and benefited from it with no untoward effects.  If you decide to use it for self experimentation that is your prerogative and you should probably not shout it from the treetops and try to impress your MD friends.  They do not like the competition, and it is beyond their pay grade unless they have a degree in physics and electronics.  But, if you are looking for a good alternative to surgery and drugs in treating the type of problems and injuries that magnetic therapy is ideal for, then this may be your answer.  We would advise only that you make a thorough study of the available information and ask questions etc.  Check out the video and articles at:




The short explanations of effects and possible benefits can be found at:











Cakewalk: Wired

Cakewalk (trio)
Wired (Hubro Music; 2012)
Oystein Skar (keyboards)
Stephan Meidell (guitars; bass)
Ivar Loe Bjornstad (drums)

A poetic slice of noise that is both surrealistic and harmonically beautiful, Cakewalk, a Norwegian trio meld their rock influences with European improvisation to create a frenzy and captivating debut, Wired,  that is meant to heard loud.

Hailing from a series of bands, Skar, Meidell and Bjornstad make an opening statement with "Glass" and "Descent," two divergent pieces that really lay the groundwork for the session. "Glass" is steady repetition of sounds that is like Steve Reich meeting Slowdive. Peaceful, experimental and introspective but retaining a nice sense of intrigue that keeps the listener on their toes. 

"Descent" opens with echoing effects and distortion that quickly builds into Sonic Youth style cacophony. Soaring guitars and crashing drums mixed with drowning keyboards provide a raw indie rock dynamic to the piece that would draw in fans of fusion and rock.

"Soil" is a manner of calm that might float effortlessly. It is heavy in atmospherics with a slow moving melody that quietly becomes hypnotic. "Wired" rips along like a piece of John Zorn's Naked City. I loved this track. It's vicious, loud and full throttle till the end. The trio put forth a lot of fire in this piece and you can't help but be thrown into some hyperactive fit afterwords.

Wired is filled with elements of rock, Krautrock and fusion. But at the end of it all, it's still Cakewalk that comes screaming through. This is an impressive debut that if you like your music hard, loud and expansive--you might have found one of the best records for that all year. Enjoy...

Selasa, 01 Mei 2012

The Living Room: Still Distant Still

The Living Room (trio)
Still Distant Still (ILK Music; 2012)
Torben Snekkestad (sax; trumpet, electronics)
Soren Kjaergaard (piano)
Thomas Stronen (drums)

Precious, spacious, expressive and minimal. All the best words to describe this latest experimental trio from Norway featuring Torben Snekkestad, Thomas Stronen and Soren Kjaergaard as The Living Room.


Their highly impressive debut, Still Distant Still, was built out of a number of live performances and in the studio that energy is just as intense and beautiful.

Like its title, the album is filled with space that holds you in place but displays a freedom and unique curiosity of performance that leaves you wondering what note will be played next. "Tremelo Hiving" quietly moves along with long breathy squeals by Snekkestad and crackling improvised tones by both Kjaergaard and Stronen.

On "Still Distant Still," the trio execute a fine pattern of improvised notes led by Snekkestad and rolling divergent notes by Kjaergaard. Snekkestad stretches the air in the middle of the piece while Kjaergaard and Stronen add a layer of haunting effects over the top of notes.

"Rainbow Stomp" is the dark, loud polar opposite to "Still Distant Still." It's builds viciously from the start, an intense discordant exchange between all members sets the path for this number. The space is consumed by tweaks, squeals, crackles, muted manipulations and pulses that all form a beautiful cacophony that carries out to it's ending.

"Mustard Variations" could sit nicely inside the John Zorn songbook. It's short, staccato patterns reign down on you like large balls of hail. Stronen and Snekkestad are the most prominent here with a blast of humour and subtle rhythmic tones and almost suggest they were going to break into a melody. A raucous of noise but still revolving around the theme of experimenting with sound.

Still Distant Still is a powerful debut from three well known and prolific improvisers that demands you seeking it out. The Living Room hopefully is not just a one off. Let's hope we get a few more albums out of this trio in the close future. Excellent stuff.