Archive for July, 2017

The Brain-Frying World of Brandon Seabrook

Brandon SeabrookDie Trommel Fatale (New Atlantis, 2017)

I’ve previously written about Brandon Seabrook’s aggressive approach to guitar. I’d observed that he adds a keen edge to Mostly Other People Do the Killing and a choppy energy to Eivind Opsvik’s albums.

That was before I heard his solo stuff. Good gawd.

That’s from the 2014 album Sylphid Vitalizers, and it consists of Seabrook on many overdubbed banjos — each played in real time — with the help of a drum machine. Two of the album’s five tracks also include the menacing shred of Seabrook’s guitar.

seabrook-dieIf Seabrook slows down a little on his new album, Die Trommel Fatale, it’s only because he’s now painting with a wider range of colors, making use of a full band that includes three string players.

But the craziness is not dialed down. His guitar still throws ninja stars at your face, complex and intentionally ugly melodies that are going to hurt if you don’t brace yourself. The rough edge gets even rougher with the contributions of vocalist Chuck Bettis — grunting and shrieking in Yamataka Eye mode — and the doomsday drumming of Sam Ospovat and Dave Treut.

The strings sweeten the mix here and there (Marika Hughes on cello and Opsvik on bass), but they, too, can be applied to aggressive effect, as you can hear deep in the mix on “Clangorous Vistas.”

I wrote the other day about Burning Ghosts, the band adeptly mixing jazz and metal. Seabrook is doing the same, you might say, but drawing from different pools of “jazz” and “metal.”

Burning Ghosts is about metal, with its stonewall guitars and rumbling demonic aesthetic. Seabrook taps a cousin music that’s closer to punk and noise. It’s just as hardcore but more trebly, with high-strung guitars articulating melodies that dig up as much darkness and discomfort as possible.

Some guys, when they play this kind of stuff — you think “Whoa. Where’d that come from?” Bill Frisell in Naked City comes to mind. Not Seabrook. I’d seen only a few pictures of him before, but once I dropped the needle on Die Trommel Fatale, it was like: “Oh yeah. I shoulda guessed.”

Moments not to miss include the digitized voice “solo” on “Quickstep Grotesquerie,” the lingering prog/metal of “The Greatest Bile, Part 2,” and the channel-flipping blend of jazzy strings, gloopy electronics, and shredding guitar on “Abscessed Pettifogger.”

I’ll leave you with a promo video for “Emotional Cleavage.” Be warned: It’s a little bit gruesome, although the ending is priceless.


Seabrook also has a trio album coming out in October. Catch a preview on Bandcamp.

July 15, 2017 at 1:11 pm Leave a comment

9 Artists and a Treasure Trove on Bandcamp

Not sure how long this has been on Bandcamp, but it’s a cool idea: Nine artists have joined forces to offer a ton of releases under the collective name of Catalytic Sound.

catalytic-small

Ab Baars, Mats Gustafsson, Ig Henneman, Terrie Hessels, Joe McPhee, Andy Moor, Paal Nilssen-Love, Ken Vandermark and Nate Wooley make up the Catalytic collective.

vandermark-drinkCatalytic Sound was founded in 2011, according to their Facebook page. That’s probably referring to the group’s web site,  which appears to be a vehicle for selling CDs. In fact, much of what’s on the Bandcamp site is available in physical form only — CD or vinyl.

Bandcamp, though, makes it easy for the artists to sell music digitally — which means Catalytic Sound dips deep into into the artists’ back catalogues. That’s the part I’m really excited about. Vandermark, in particular, has stacks of out-of-print 1990s CDs represented — such as Drink Don’t Drown, a live recording from the famed Empty Bottle jazz series in Chicago.

One oldie worth checking out is Caffeine, an obscure trio with Jim Baker on piano and Steve Hunt on drums. It’s one of so many “lost” CDs I remember sampling in the KZSU-FM library.

 
Combined with the Destination: Out store, which is re-releasing the old FMP catalogue of European improv classics, Catalytic Sound is turning Bandcamp into a dangerous vacuum for discretionary dollars. Not that I’m complaining.

July 14, 2017 at 10:02 pm Leave a comment

Masada String Trio

masadastring3-graypink.jpg

No, I haven’t sampled all of the Book of Angels CDs in John Zorn’s Masada series. Haven’t even come close.

So, despite the players’ pedigrees, I hadn’t yet heard the Masada String Trio.

Then this popped up. Posted to YouTube just last month, it appears to be a French TV broadcast of a live String Trio performance. Greg Cohen on bass, Erik Friedlander on cello, Mark Feldman on violin, and Zorn doing the conducting and grinning ear to ear. There’s some brilliant playing here.

This combination seems dear to Zorn’s heart, because Masada String Trio was granted two entries in the Book of Angels series (wherein each band in succession got to pick from Zorn’s “Masada Book Two” compositions). They also recorded the inaugural CD in Tzadik’s series celebrating Zorn’s 50th birthday in 2003. All of those discs are concerts recorded at the late, lamented Tonic.

Well, why not? Three downtown NYC veterans playing good music at a beyond-expert level — who wouldn’t be game for that? Glad I finally took the time to listen.

July 9, 2017 at 8:38 pm Leave a comment

Metal-Jazz Done Right

Burning Ghosts play at the Hemlock Tavern (1131 Polk St., San Francisco) on Thursday, May 13. Openers include The Lake Millions, veterans of KZSU’s Day of Noise.

Burning GhostsReclamation (Tzadik, 2017)

burning-reclamationNot every moment of Reclamation as in-your-face as the promo video suggests, but Burning Ghosts‘ new album, released last Friday on Tzadik, does deliver on its claims of mixing metal with jazz.

Descriptions like that always leave me skeptical, since the mixing of any two genres tends to select the weakest tonics from either side, particularly the jazz. (That was especially true of jazz/hip-hop mashups, as I often discussed with KZSU DJ M-Smooth in the mid-2000s.)

But this mix works. Daniel Rosenboom‘s trumpet is at the center of the music, played in bright, crisp tones that very much signal “jazz.” On the metal side, it’s Jake Vossler and Richard Giddens swimming in the throttling smoke of guitar and bass, driven by Aaron McLendon on the drum kit.

Rosenboom has explored similar territory with the Los Angeles band DR. MiNT, mixing jazz horns and outer-limits guitar. He’s at home here, as you can hear on “FTOF,” a track that gets Reclamation off to a zooming start.

The opening of “Harbinger,” meanwhile, is a slow drag through thick brambles, leading to a shredding attack:

Rosenboom describes Burning Ghosts as an activist band, and you can hear traces of that in the dire urgency of “The War Machine” and the scorching grandeur of “Revolution.” There’s anger in here, but it’s packed with brainy and adept musicianship.

I get a jazzier vibe from the band’s 2016 Curve Line Space performances, with Tina Raymond on drums and Tim Lefebvre (of Donny McCaslin’s band) on bass. On Reclamation, Rosenboom and Vossler are more intent on going for the jugular, airing the band’s metal side. But don’t discount the jazzy moments like the bass-drums shuffle of “Gaslight” and even the light-touch rhythm section backing the guitar shredding on “Catalyst.”

July 5, 2017 at 11:14 pm Leave a comment


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