KIM GORDON / IKUE MORI
/ D.J. OLIVE CD (SYR)
This
CD is good. It's actually better than I expected it would
be. Hearing about the project, it seemed to be coming from
that post-Zorn / Knitting Factory thing - it's not that I
'don't like' that thing, but it's spawned about 150 expensive
CDs and I just can't be bothered about 'em all, being quite
satisfied with the 4 to 7 that I have. And I'm not a huge
follower of 'illbient.' But hey, I like what's going on with
this album. I think that what really 'makes' it is that the
pieces on here are all really short, 3 to 5 minutes. This
gives the thing that pop-song of the junk-future momentum,
which is surprising for an album featuring this much tunneling,
gushing NOISE, as supplied by the dense live interplay between
Mori and Olive. Here's how Forced Exposure describes the activity
on Mori's solo CD Garden: "Adopting some of the crystallized-fracture
ethos of concrete/surreal constructs and the spatialization
of certain minimalistic ambient/techno works….," which
seems accurate enough to describe her activity here, even
though it's hard to tell where Mori's sounds end and DJ Olive's
begin, and even harder to worry about it. It's just free-flowing
urban-techno-gush. Kim's parameters, on the other hand, are
crystal-clear, her vocals and bluesy / rocky/ no-wavey guitar
patterns coming in and out of a mix position that rides somewhere
above the post-art soundflow. As you might expect, when combined
with bizarre sound confusers like Olive and Mori, Kim's contribution
sometimes sounds a little, well, Kim. You know, less
mysterious. Some friends of mine have complained that Kim
is doing nothing that she wasn't doing ten years ago, and
they find her sing/speak annoying. I know what they're saying,
because that's often a gut reaction I have, but if she's on
the edge I like the way she's teetering. She can be screechy,
of course, and head-scratching sometimes -- there's another
"Alice, she's just a kitten" moment on here, coming somewhere
around track 6 or 7, when she starts chanting something like
"Kill Minnie! Donald Duck!" a few times. Still,
I can't help but be tantalized by the new territory she is
claiming, dedicating herself to a more free-form vocal style.
The name Patty Waters is being invoked a bit to describe what
she's doing, and indeed, I see her channeling both the Patty
Waters free-fall vocal muse AND a half-remembered sassy 60s
girl-group stylee through her No-Wave parameters. The result
is some sort of free-pop bobby-sox-and-pink-hair noise music.
Don't sleep on this record, there's something going on here
that is going to remain futuristic and unpinnable for years
to come.
(I
also like how the Other
Music website describes Kim Gordon's vocals: "...all
about breath and its interruption.")
LATE: The Thomas Gordon
EP 8-INCH LATHE-CUT (20
CITY)
It's
supposed to be spelled 'late,' all lower case, so I figure
all-caps (as per Blastitude's record-review format) would
be okay too. late is Matthew St. Germain from Minneapolis,
Minnesota. He's the founder and co-executive officer for the
Freedom From label. He's also quite a character, but then,
aren't we all? He has a reputation for mooning audiences when
he performs, but the music he's been releasing as late has
been taking a more sedate blank-stare turn that seems pretty
incongruous with such hi-jinks (and more congruous with another
of late's reputations, that of avid drug experimentation).
The turning point from drunken mooning to this sedated minimalism
was probably "Black Rain," a track that first appeared
as an untitled piece on a don't-blink-and-miss-it-anyway cassette
single from EF Tapes. It was a 4 or 5-minute presentation
of the same subdued and distant low-register grind. I later
found out from Matt that it was simply the result of his hand-held
recorder running while left out in the rain. I find it a nice
layered soothing drone, like listening to crickets on a night
in the country. On this lathe-cut record "Black Rain"
appears again, this time a longer eight-minute excerpt that
takes up all of Side B. Sublime listening.
The first
half of the record, if you'll allow me to review it in reverse
order, features more dusted found-sound minimalism -- late's
own description of his participation in the sounds is "Spans
time periods of 1996 to 1999 and is sort-of strictly hands
off by late." All he really did was push record to capture
"field recordings of amp, cd, car/radio..." The
amp recording begins the record with a very nice layered hum
that is over a bit too soon. (Apparently St. Germain came
home from some drunken meelee and found his amp, though unattended
for hours, making this sound all by itself.) Then there's
a long section of silence, and then the "cd" field
recording, a few seconds of a Rafael Toral CD that is skipping.
Again, it's a legitimate found sound object, although it is
sorta slight and simple and again over quick. (That also makes
it a 'miniature,' right?) Then there's an even longer bunch
of silence, and then it's the rather amazing third piece,
which is apparently St. Germain recording himself driving,
presumably alone down some dark desolate Northern Plains highway,
tuning in static on the radio and accelerating and deccelerating
the car engine along with it. The result is as alien-sounding
as "Black Rain" -- a lot of it sounds like it could
be an engine and a radio but some of it sounds like it has
to have a guitar plugged into an amp humming along. (Maybe
an unnamed passenger had one of those cigarette-lighter mini-amp
things.) Maybe. Anyway, this is a pretty powerful and interesting
record. Eclipse has it for $15.99, which seems kinda high,
I got mine for $8 or $10 direct from St. Germain when he was
in Omaha on the Reynols tour. -- Matt Silcock
LINKS:
Freedom
From
Eclipse Records
PANTY BOYS: Maiden Voyage
CDR (self-released)
This is an unknown cdr that made it's way to
the Blastitude offices a few months ago. Panty Boys seems
to be a one-man band, the man being Chuck Stern who lives
in the NYC area. (His area code is 212, I think that's NYC.)
Eight tracks that heard together sound like one extended piece.
This is interesting stuff, dense-ass prog/noise collages that
never come off as being too prog or too noise. By prog I mean
that you can hear guitars and keyboards and stuff playing
strange riffs and chords that could come from King Crimson
or early Genesis or whatever, but it's all shot through with
tons of droning/wailing/horrorshow intangibles. And, the guitars
and keyboards are just as likely to play Ralph Records silliness
or post-Incus scritchy /scratchy, and disturbed distorted
vocals can be occasionally discerned inside the din. Too melodic/harmonic/'neo-classical'
to be improv, too messy to be prog. And what the hell is that
on the cover? Anyway, I'm not usually into this kind of prog-collage
stuff, but what makes this one work is the disc's brevity
(34 minutes) and the sheer momentum as one information-overload
collage slams into the next. Contact: sternmail@tuna.net,
(212) 799-9739.
VARIOUS ARTISTS: Jazzactuel
3CD (CHARLY)
I've got a cassette dub of a friend's scratchy copy of Monkey
Pockie Boo by The Sharrocks (Sonny and Linda) but an excerpt
on here sounded totally new. Linda moaning out a sweet/sad
blues melody, all by her lonesome. No record crackle or tape
hiss, just Linda in my room singing wordless soul, sounding
great on CD. Then Sonny and the band come in suddenly, crashing
and clattering and burning, no end in sight, whipping Linda
into her banshee caterwaul. Crazy stuff. She sings with the
same punk energy of Yoko Ono but her whoops and free-fall
warbles are even more outwardly spiralling. She sounds absolutely
feral, there's none of that archness / distance you get from
Yoko, Linda Sharrock is right in your face, sounding for all
the world like an animal getting fucked outside in the street,
it's really that intense. (That's why they don't play this
shit on the radio.) Other times she's like a huge woman-size
crow cawing at the moon, and Sonny and the band are still
churning away but their roar is low in the mix -- studio dynamics
or live-band dynamics, or maybe a little of both -- and for
all their variegated clatter, still (because of the lowered
dynamics) really only creating a variation on the drone, a
different sort of minimalism, specifically, a representation
of the great night-time countryside silence that the black
woman-size crow is cawing into (out of).
I
don't really know how to continue this review except to say
that this three-disc box set is well worth the $37 or so you'll
have to pay for it. (U.S. funds.) And that the other Actuel-label
reissues that Charly has done are already out of print (at
least I think so, though they may get repressed). I mean,
this box set is stunning. It's got 26 different tracks, and
at least 10 of 'em are around 10 minutes long, with a few
clocking in at the 20-minute mark (i.e. an entire LP side).
Other highlights, to name just a few, include: "Red Cross"
by Sunny Murray (a heavy composition that just keeps building
in intensity), "Blase" by Archie Shepp (with a heavy
rap by Jeanne Lee), "Exploration" by Grachan Moncur
III (an undersung trombonist leads a lineup of Roscoe Mitchell,
Dave Burrell, Alan Silva, and Andrew Cyrille!), "Brother
B" by Arthur Jones (an incredible alto saxophonist capable
of Lester Young-ish breathiness as well as all the 'excoriating'
stuff), "Pioneering" by Andrew Cyrille (percussion
solo self-accompanied by simultaneous 'whistles, gong, shouts,
et al.'), "Tarik" by Dewey Redman (Joshua's father
goin' off on the musette), "Africanasia, part
1" by Claude Delcloo/Arthur Jones (a percolating rain-forest
jam), and "The Seasons, part 6" by Alan Silva &
The Celestrial Communication Orchestra (an unbelievable 22-minute
drone featuring 19 musicians that could almost pass for The
Dead C or something like that).
Okay, there wasn't much historical background in that review
so I'm gonna end it with this that I just pulled off the website
for a California radio show called Jazzadelica:
From
1969-1971, the French BYG/Actuel label lured cutting-edge
American jazz artists to Europe for collaborative concerts
and recording dates. The result, sampled on this collection
and documented with informative liner notes by Thurston Moore
and Byron Coley, was a body of ground-breaking work that continues
to exert influence to this day. Along with the equally-remarkable
ESP-Disk catalog, these BYG/Actuel releases (50+ total) are
the definition of "free jazz." Exhilarating stuff from Charly
Records (UK).
The above from DJ
Rocky Rococo. Listen to his show and others at www.kfjc.org.
I couldn't really find any sort of historical site about the
Actuel series, although there is a discography here.
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