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Paulo Jorge Alexandre Improbable Trio (w/ Tom Wheatley / Eddie Prevost): Elements (Creative Sources)

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Hubert Zemler : Gostak & Doshes (Bolt)

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Tyshawn Sorey: The Inner Spectrum of Variables [2 CDs] (Pi Recordings)

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Yoni Kretzmer (Steve Swell / Thomas Heberer / Max Johnson / Chad Taylor): FIVE (OutNow Recordings)

An excellent example of collective free improv from a quintet led by NY tenor saxophonist Yoni Kretzmer with collaborators Steve Swell (trombone), Thomas Heberer (cornet), Max Johnson (double bass) and Chad Taylor (drums), capturing the horn sound of the late 60's Blue Note era. ... Click to View


Frantz Loriot Systematic Distortion Orchestra: The Assembly (OutNow Recordings)

The 11 piece Systematic Distortion Orchestra is led by composer and viola player Frantz Loriot, with Brooklyn Downtown players Nathaniel Morgan (sax), Brad Henkel & Joe Moffet (trumpet), Ben Gerstein, Sam Kulik (trombone), Sean Ali & Pascal Niggenkemper (bass), and 3 drummers. ... Click to View


JC Jones / Yoni Kretzmer (w/ Barre Philips / Mark Dresser / Reuben Radding / Sean Conly / Damon Smith / Pascal Niggenkemper): Esoteric Duos [2 CDs] (OutNow Recordings)

A tremendous CD of duos, disc one presents Israeli bassist JC Jones in duos with Steve Horenstein, Barre Phillips, Mark Dresser, Damon Smith, Yoni Kretzmer, and Carmel Raz; Disc 2 presents NY saxophonist Yoni Kretzmer in duos with Pascal Niggenkemper, Reuben Radding, Sean Conly, and JC Jones. ... Click to View


Kretzmer / Ajemian / Shea: Until Your Throat is Dry (OutNow Recordings)

The trio of NY free improvisers Yoni Kretzmer on tenor sax and Kevin Shea on drums (Talibam, Mostly Other People Do the Killing) with bassist Jason Ajemian in an intense album of "immaterial tangibility, the raw flesh, dirty concreteness, thoughtlessness and stuff called music." ... Click to View


Ehran Elisha / Kindred Spirit: Kindred Spirts: Quintets [2 CDs] (OutNow Recordings)

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Malfatti / Drumm / Capece: The Volume Surrounding The Task (Potlatch)

A moody album of minimal improv, using space, innuendo, breath and a wonderful sense of darkness from the trio of Radu Malfatti (trombone), Kevin Drum (electronics) and Lucio Capece (bass clarinet & preparations), performing live at Q-O2 in Brussel, Belgium. ... Click to View


Tony Conrad W/ Faust: Outside The Dream Syndicate [VINYL] (Superior Viaduct)

Originally released in Europe in 1973, this reissue details the meeting of NY violinist, composer and filmmaker Tony Conrad, a peer of John Cale, La Monte Young, &c. with the legendary German rock band Faust, recording these two side-long and forward-looking works. ... Click to View


Tony Conrad W/ Faust: Outside The Dream Syndicate (Superior Viaduct)

Originally released in Europe in 1973, this reissue details the meeting of NY violinist, composer and filmmaker Tony Conrad, a peer of John Cale, La Monte Young, &c. with the legendary German rock band Faust, recording these two side-long and forward-looking works. ... Click to View


Mats Gustafsson And Friends: MG 50 - Peace & Fire [4 CD BOX SET] (Trost Records)

A box set documenting the October 2015 3-day event held at Porgy and Bess in Vienna for the 50th birthday of saxophonist Mats Gustafsson (The Thing, Fire! and innumerable duo/trio/ensemble formations) with a who's-who of collaborators invited to join in various formations. ... Click to View


Rempis / Abrams / Ra + Baker: Perihelion [2 CDs] (Aerophonic)

Following their 2013 release "Aphelion", the working trio of Dave Rempis on sax, Joshua Abrams on bass & clarinet, and Avreeayl Ra on drums release their 2nd collaboration in a 2-CD album of live and studio improvisations, adding Jim Baker on keys and electronics for the 2nd disc. ... Click to View


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  Robert Piotrowicz 
  Lasting Clinamen  
  (Musica Genera) 


  
   review by Darren Bergstein
  2008-07-30
Robert Piotrowicz: Lasting Clinamen (Musica Genera)

Polish electroacoustic improv label Musica Genera is one class act. Much like the magnetic visual aspects of their digipaks (all beautifully designed, rendered with an architect's eye towards shape placement, font caligraphics, and colortone), the artists that record for the label refuse anything as pat as "category" — EAI works as a broad generalization (re: the label's literal translation) but acoustic instrumentation is often as present. What sets the folks who record for Musica Genera apart from their peers is many of them operate out on the furthest of limbs, embracing ideologies torn from lowercase sound structures, computer minimalism, Cage-ian silences, airburst sonic explosives, Mego harddrive crashes...in short, the full spectrum of modern electric/unelectric dynamics, approached from seemingly all the wrong avenues.

Maverick Robert Piotrowicz considers his synthesizer a most noxious device, fit only for immolation. He isn't a just a wayward noisemonger by definition, nor does he conform to the extreme avant-garde dogmas emblazoned from well-on high (Subotnick, Babbitt, Buchla, Carlos) to those little-known (PBK, Six Or More, etc.). Apparently Piotrowicz's mandate on Lasting Clinamen is to test the very limits of his chosen weapon (in this case, a single Doepfer A100 analog modular), ignoring wholecloth factory presets, passé "space" eruptions, nomadic blipperies, or anything approaching an emergent style-hook less-forgiving shoppers might cling to in desperation. Like Thomas Lehn, Piotrowicz autopsies his instrument to see what he can screw with inside, reorienting your middle ear while he's at it.

Easy listening this record isn't. The grinding metal machine music of "Clinamen 1A" immediately ignites your speaker fabric on impact, Piotrowicz throttling his modulation wheel to the point of asphyxiation, mixing coagulating waves of sound in the finest Merzbow or Masonna tradition — done on the fly or not, this is molar-melting death-metal improv, not for the faint of heart, and not necessarily everyone's cup of gruel. Thankful respite ensues right as "Clinamen 2A"commences; quite anticlimactic after the prior full-frontal assault, it nevertheless percolates with abject tension, "1A"'s flipside, howling tornadic winds ratcheting up frequent flier miles. "Clinamen 1B" sees a return of the king — king noise, that is — as Piotrowicz imagines his head vibrating between two city block-size tuning forks, his electronic waves hovering just this side of concussive distortion. The closing segment, "Clinamen 2B" fluctuates in the midst of these twin poles — barely-controlled noises on the verge of anarchy — the artist defibrillating his machinery in a vain effort to hold chaos at bay. Challenging music for overwrought times, although the efficacy of Piotrowicz's work remains questionable, for at close range, immolation surely feels imminent.



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