Pail Bug — Pail Bug (Generate, 2011)
For the record, I did give this a listen before going to New York and meeting Jeff Arnal in person. But I hadn’t taken the time to write it up yet.
Pail Bug, an improvising quartet, is another collaboration between drummer Arnal and pianist Dietrich Eichmann. The first was in 2004, a Leo Records CD called The Temperature Dropped Again. That was followed by a vinyl 12″ record called Live in Hamburg, recorded in 2004 and released in 2007 as a 12″ LP on the Broken Research label.
The cover of Live in Hamburg shows what appears to be some kind of big structure being built, and that influenced my listening. It’s always unfair to ascribe a visual image to a type of music, because so much depends on what’s on your mind in the first place. It’s arbitrary, like having a dream about something you did just the other day. Still — I listened to the spacious, sometimes raucous piano and drums, and I came up with images of grand architecture, of towering structures in progress.
The group Pail Bug adds two bassists — John Hughes and Astrid Weins, contributing lots of aggressive arco and extended technique to the sounds of the piano and drums. It’s a busier, buzzier construction site, with the basses babbling and tapping, sometimes filling the percussive role while Arnal scrapes sticks against cymbals to form long tones. Eichmann dabbles in prepared piano as well.
“Second Pail” grabs you from the start, pushing directly into a gallop. It’s an engaging and busy opening, and after about four minutes, it decelerates, with buzzing, metallic bass bowing giving the image of a large beast careening to a halt. The quiet segment that follows still has a sense of motion; you’re still moving at a trot. A fast trio emerges later, with Arnal and one bass flying off the handle while another bass chugs along, its bowing providing the rhythm section.
I really like the sound of pizzicato bass, and that’s what opens “Third Pail,” accompanied by some kind of industrial-steam sound — I assume it’s coming from Arnal, but I can’t tell, and that ambiguity is a constant theme of Pail Bug’s. The second bass adds some metallic scraping of the strings to complete the bustling, compact trio. Eichmann enters in a flurry, with an angular sort of boogie-woogie prancing, dire and bright, prompting Arnal into a more conventional drum-kit attack. All told, it’s a dynamic 12 minutes.
There are five tracks, and you’ve probably figured out the naming scheme by now. “First Pail” opens the album with a quiet aesthetic, with small sounds creeping into the frame, starting as isolated chords or squeaks and building slowly into stirrings. The piece eventually builds into a howl built of bass strings and screeching, scraped cymbals.
“Fifth Pail” gives us a good dose of unabashed clatter, including plenty of Arnal’s drum kit. “Fourth Pail” is along the same lines, with (if this makes any sense) a more tempered sound yet a more anarchic feel — except for one moment where the band suddenly hits a dead stop. It might have been cued visually, but on disc, it’s an interesting little surprise.