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They are The Dirty Jacks from Maryland, who have been called progressive/alt rockers, as listed in the press release for what you’re about to hear, which is in reference to a new EP the band will be releasing called All Part of the Plan. The song is called “From The Ashes To Attack”, and they know you’re going to be into it because it was (all together now) all part of the plan. See how it works? Now let’s hope you are truly into it too.
Run The Jewels have been making a minor ruckus on the social media this morning with a note circulating on how people are able to welcome them to school for a performance and public speaking. Along with that is a new song from that that is a part of Adult Swim’s Singles Club, and this juicer is here right now for all to hear and download, for free. You can also head here if the Soundcloud link/player below is unavailable or not working.
Someone on YouTube had this to say about “Legend Of The Spaceborne Killer:
“this is like Dio mixed with Red Fang and Rage Against the Machine.”
I tend to get a hint of Joe Lynn Turner-era Rainbow and Tesla, but Crobot may sound like someone else entirely to you. Have a slice of the abdomen and see where the music takes you. The song is on Crobot’s self-titled EP on Wind-Up Records, but will also find its way on their forthcoming album, Something Supernatural.
Andrew St. James’ The Shakes (self-titled) is music for those who like latter-day/the current phase of Flaming Lips, if Wayne Coyne was strictly acoustic. Some of it sounds like a wholesome country or Americana album where St. James’ stories are content enough to not only listen to, but remember and sing along to yourself. The inclusion of the Hammond B-3 gives some songs a stronger feel, I don’t want to say sacred but I love the B-3 and when I hear it in a lot of jazz, I’m brought “home” in the sense that I want to hear my abdomen bathe in it so I can feel rich and tangy. St. James makes good rich and tangy songs, where he speaks about traveling in his lifetime but sometimes feeling lost, or at least unsure if his current location will be to his liking. The use of saxophone by Ralph Carney in “5 Years” has a slight “Baker Street” feel to it, or maybe it’s a Clarence Clemons vibe, but it returns to feeling what is rich and tangy and wanting to sit in a tavern and having two servings of whatever they’re serving. What I also liked was the fanzine assembly approach of the album cover artwork, where it looks as if St. James obtained some photos, cut it himself done not in a professional manner but look, who cares, it’s the music that matters most. There is a homemade feel to the artwork but the music could easily become something that takes on a following if he allows himself more into the world. I think he’s already there.
Alison Blunt (violin), Anna Kaluza (alto sax), Manuel Miethe (soprano sax), Nikolai Meinhold (piano) and Horst Nonnenmache (double bass) are the five that make up the Hanam Quintet, who recorded the album in two different locations, the Lumen Church in London and the Collegium Hungaricum in Berlin. The pieces are untitled as they speak to one another in a very comforting manner, as if they were people having a casual conversation at the park or at the mall. You can hear them as being oddly freaky or sensually beautiful, a bit like watching the origins of something being creative at high speed. The last part of the album is a three-part, 17 minute composition that features cellist Tristan Honsinger, who helps to bring the quintet into his world and he into theirs for a bit more conversation, although sometimes the silence shared between themselves is what makes this work nicely too. I also found the artwork by Sandrao Crisafi to be quite engaging too, allowing myself to interpret it along with the music if and when I wanted to.
Cups Glasses And Tanks (Aut) is a new collaboration between Nicola Guazzaloca, Pablo Montagne, and Giacomo Mongelli, with Guazzaloca playing jazz while Montagne and Mongelli performing in a number of different classical configurations. The album is very much on the avant-garde side and while there are jazz central points, at the moments one would think they’re about to stay locked in something nice, they all go off into another world. I think what makes this work is that even when I was secure in being comfortable with what I’m hearing, they didn’t stay there that long, leading into something more mysterious. There were moments in Montagne when he plucked a certain string to scratch it, and it reminded me of Okkyung Lee. Then again, it may have been Guazzaloca scratching the piano strings. The music here is evenly beautiful and clustered, it’s easy to get in the middle and watch it from the outside while inside.
There was a comment saxophonist Anthony Braxton said in an interview that I felt was very interesting. I’m paraphrasing here, but he said something to the effect that just because he plays the saxophone doesn’t mean he plays or has to play jazz all the time. The instrument is held solid with jazz, even though it can be used in a wide range of settings, like a guitar, but the saxophone is just jazz. I thought of this as I was listening to this album by a trio who call themselves Bug Jargal. Nello Da Pont, Giorgio Pacorig, and Luciano Caruso begin in a very open fashion, not free jazz or anything but slowly building themselves up and I hear Caruso’s saxophone world. Here I was, expecting something textural and then Da Pont’s drums kick in and… it has a groove. Not funky, but it grooves well, just bars repeated without a bass line, and I say this because it’s what I generally crave in other music. Then Pacorig plays his Fender Rhodes and it sounds very much like jazz to me, or at least avant-garde jazz. It could be something freaky on ECM, it could be something on another distant record label, it could be one of Sun Ra’s musicians doodling in an earthbound manner. It’s not a garbled mess, there is some sense of precision going on, but it’s nice to hear just three guys playing for the sake of playing, very improvisational (at least to my ears) and without a care of where they’re going to go next, or with each other. Pacorig sometimes plays with the spirit of Herbie Hancock or Keith Jarrett so at times it may feel like you’ll think Miles Davis will come out, play his trumpet for two minutes, then stair at the wall for the next 22 minutes. As the liner notes state, “there is respect, mutual trust and complicity” and that can be felt. Again, unsure of where they’re going, but they’re going, and I’m glad they did. Further journeys, gentlemen.
If you were to purchase Patchworks Voices’ Puzzling (Aut) and were hoping for an incredible musical jam, it could lead to you digging your brain matter out through your ears. The “Voices” in question are Claudia Cervenca and Annette Giesriegl, who use nothing but their voices and electronics to create very interesting sound pieces and collages, which consists of them collaborating verbally and not verbally. In a track like “_ne”, it sounds like infants speaking with the mind capacity of adults, with nothing but gibberish that’s loud and delicate, as if they’ve found each other in the dirt and want to discover more things underground. One could also interpret this as the origins of human communication in the world, or someone may very well say “what the hell is going on here?”
The entire album is like that too, and part of the puzzle involved is trying to figure out what the missing letter is in the song titles: “_en”, “_wo”, “_ur”, and “_ree” as examples. They could be numerical, they could be meaningless, but the interesting thing about listening to this is that it sounds like sitting into a conversation at the park and not being involved, just listening and trying to get a joy out of what is being said, or made. As for the spontaneity, you can say they would be along the lines of Pauline Oliveros, Yoko Ono, Meredith Monk, and Joëlle Léandre, so if you are fans of their work, you are sure to find Puzzling to be a world, you’ll want to revisit many times in the near future.