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Tim Olive / Yan Jun: Brother of Divinity (845 Audio)

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Cal Lyall / Tim Olive: Lowering (845 Audio)

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Octopus: Mimus (Creative Sources)

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Leap Of Faith: Tangled Hierachies (Evil Clown)

A 2019 performance in Cambridge, MA, an intertwining quintet of unique instrumentation with PEK on bamboo & bass saxophones, clarinets, contrabassoon, tarota, melodica, sheng, aquasonic, wood, metal, wind siren, crank siren, & chimes; Glynis Lomon on cello, aquasonic, chimes; Eric Zinman on piano; Syd Smart on percussion; and Yuri Zbitnov on drums, gong, wood, metal, wind siren, chimes. ... Click to View


Dave Rempis / Brandon Lopez / Ryan Packard: The Early Bird Gets (Aerophonic)

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Kuzu (Dave Rempis / Tashi Dorji / Tyler Damon): Hiljaisuus (Aerophonic)

Kuzu is a hard-charging but patient trio that came together in the fall of 2017, after saxophonist Dave Rempis, a stalwart of the Chicago improvised music scene, worked with both Tashi Dorji (guitar) and Tyler Damon (drums) individually as part of a lengthy solo tour of the U.S.; this new trio is captured at Elastic Arts, in Chicago in an intense and dynamic live set. ... Click to View


Alister Spence / Satoko Fujii Orchestra Kobe: Imagine Meeting You Here (Alister Spence Music)

Australian composer Alister Spence wrote this in five parts composed for an improvising orchestra, which was first premiered in 2016 by Satoko Fujii's orchestras in Kobe, Nagoya and Tokyo, and the Glasgow Improvisers Orchestra; this recordings in 2017 at Big Apple Jazz Club in Kobe revisits the work with Fujii's Orchestra Kobe, conducted by the composer. ... Click to View


Sabu Toyozumi / Rick Countryman: Sol Abstraction (Sol Disk Records)

The longstanding relationship between US alto saxophonist living in the Phillipines, Rick Countryman, and legendary free improvising Japanese percussionist Sabu Toyozumi, heard in two previous albums, is here captured live in concert in the Phillipines in 2018, revealing active and thoughtful dialog of great expression and skill, an inspired encounter of free playing. ... Click to View


Ivo Perelman / Jason Stein: Spiritual Prayers (Leo)

A confluence of reeds as Brazilian-born, NY-based tenor saxophonist Ivo Perelman meets NY-born, Chicago-based bass clarinetist Jason Stein, the 2nd of Perelman's recent reed duos after his meeting with bass clarinetist Rudi Mahall; here Pereleman ascribes a spiritual connection with Stein in the remarkable compatibility of wonderfully controlled, complex interplay. ... Click to View


Ivo Perelman / Rudi Mahall: Kindred Spirits [2 CDs] (Leo)

The first in a series of recent duo recordings from Brazilian-born, NY-based tenor saxophonist Ivo Pereleman is with German bass clarinetist Rudi Mahall, both incredibly skilled players that complement each other in timbre and range, while finding common ground in intertwining lines, incredible counterpoint, and an innate adherence to lyricism. ... Click to View


Rudi Fischerlehner : 15 8 Slum (Not Applicable)

Austrian drummer percussionist Rudi Fischerlehner (RM, Xenofox, Parrot Feathers, &c) in his first solo album of energetic, polyrhythmic construction, titled for a chance proximity to a note on 15/8 rhythms and Rene Pollesch's book "www-slums", apt for the blend of precise playing and creative abstractions heard in this engaging and propulsive album. ... Click to View


Terry Rusling : The Machine Is Broken (Spool)

Retrospective of Terry Rusling, a Canadian composer of electronic music working for the CBC in the 60's, who was introduced to the Electronic Music Studio at the University of Toronto, where he was awarded the title of Research Associate, receiving a Canada Council Grant to travel and work in Belgium, Utrecht, Paris, &c.; 2 of his graphic scores are part of John Cage's "Notations" project. ... Click to View


Laura Mello: Esta Verde! (Creative Sources)

Using multiple voices, field recordings and electronics, Brazil-born composer living in Berlin Laura Mello works with spoken language as she explores human perception of acoustic phenomena in relation to spoken language, here in 8 compositions or excerpts that reveal hallucinatory and unusual aspects of speech complemented by elusive aural environments. ... Click to View


Rodrigues / Rodrigues / Santos: Cyclic Symmetry (Creative Sources)

Recorded in the studio in 2017, "Cyclic Symmetry" presents an electroacoustic trio of Ernesto Rodrigues on viola, Guilherme Rodrigues on cello, and CS mainstay Carlos Santos on field recordings, in a minimal work suggested to be heard on infinite loop, contrasting deep silence with sections accenting the slow, interwining harmonics of both Rodrigues' string work. ... Click to View


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  Angelica Castello / Jerome Noetinger 
  Disturbio  
  (Mikroton Recordings) 


  
   review by Dave Madden
  2019-02-28
Angelica Castello / Jerome Noetinger: Disturbio (Mikroton Recordings)

As there is so much we could discuss about these veteran players, their instruments, and the palette of Disturbio, I will give a high-level view so as to not wax on too long about / overemphasize the importance of any ingredient over another:

• Angélica Castelló: Born in Mexico, lives in Vienna, professor and electroacoustic (heavy on the acoustic) composer, electronics maven, Paetzold performance extraordinaire

• Paetzold: An instrument based on the Renaissance bass recorder. It resembles a large, wooden periscope mated with a stilt — or mutated goose neck — is capable of very low tones, and is often (boringly) employed to double clarinet an octave below. Notable performers include Castelló and Anna Petrini

• Jérôme Noetinger: One of the greatest living mystics of sound mangling. He has run the gamut in the composition and improvised performance world, and continues to tweak and get mileage out of his bag of tricks. His current set-up of crumbling feedback and crackle effects features a Revox A77 tape deck as it's keystone, the latter enabling real-time manipulation, live looping and staccato-to-elongated aural torrents

• The Revox A77 reel-to-reel player / recorder: Once relegated to "swinging bachelor pads," the A77 is referred to by audiophiles as "The Rolex Oyster of tape decks." It was a bit cheaper than some of the studio standards, but can physically endure much more than some of the less sturdy counterparts. I don't think any of that has any bearing on this music, but you can read more here if you are so inclined.

Anyway, the electroacoustic / post Cage / free improvisation domains usually adhere to one or all five of the following: Construction, destruction, a combination of the previous two, dissection, and / or observation. In the case of Disturbio, the field is already laid to waste; we're stepping in after an unresolved coda where whatever sudden catastrophe caused the collapse lingers and continues to impede renovation; but there is a sub-dermal environment squirming under the debris, attempting communications that are squashed before reaching the surface or a first responder.

Okay... Remember the robotic mice from Ray Bradbury's There Will Come Soft Brains? Their job was to prepare food and clean up after any mess in the this-is-the-automated-future-per-1950s-predictions home; they continued to do so despite the disintegration of their masters, even pressing on while losing bolts and limbs to the house crumbled on top of them. They continued to wiggle. That's the telepathic mental image of the sonic world Castelló and Noetinger navigate and deform.

A blend of broken, distant television and radio broadcasts mingling with grumbles, fried circuits, twitching held notes, gravelly footfalls, staccato exhales, whistles, tape spinning and winding, and otherwise percussion guides this narrative. Would you prefer pink noise, gentle rumbles, and the synthetic clone of someone massaging a balloon? Gradually pour in hissy bird call recordings that surf on some type of Doppler effect and patiently move into an intricate, complex chord, a combination of AC hum, shimmering squeals, ocean noise — like a Buddha Machine designed for bigger, advanced brains. Can the foreground sometimes emphasize the broadcast voices, or popular songs, or opera snippets, or Spanish exorcism prayers? Could you add some subtle idiosyncratic reminders that the recorder that eats clarinets and bassoons for breakfast is also participating (i.e. wheezy humming, wooden grinding and sawing)? Cloudy feedback loops and the players real-time sample each other too?

Tangled, right? Not really. There is a lot of disparate elements firing on Disturbio, but a thoughtful progression and micro placement keeps the works hypnotic, slightly adhesive, mysterious, playful, not physical engulfment and desensitization into boredom.



Angelica Castello / Jerome Noetinger: Disturbio
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