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alms never anything records a wildly entertaining if difficult to pin down solo venture from storring qualms is a single piece spanning both sides of the cassette on which storring wields cello electric and acoustic other strings including guitar keyboards a vast array of percussion and more the music has one foot in a kind of post in c minimalism there are moments that almost sound like they might have been lifted from a variant in c performance in fact and several others it s at least insectile if not centipedal in adjacent areas including one that owes something to southeast asian traditions the generally shimmering percussion all light bells and transparent wooden tappings rolls over liquid string generated drones nodding in passing to balinese and javanese music even evoking laotian mouth organ music at one point but joyfully moving to its own rhythms and harmonies on the one hand it s kind of steady state but within qualms are any number of sections and shifts fades and re emergences dreamlike there s generally a pulse the piece was written to accompany choreography for yvonne ng at least implied when slowed to a breathing pace but often enough up front always airy and fluttering never remotely leaden this is particularly the case on side b during the episode that s most reminiscent of the riley opus overall qualms is an intoxicating pleasure offering both a surface beauty and a wealth of fascinating details to investigate well worth hearing never anything records posted by brian olewnick at 10 27 2019 02 32 00 pm 119 comments saturday october 26 2019 fergus kelly gleaming seams room temperature i ve been listening to fergus kelly s music for about a decade now and have found it consistently rewarding his dark percussion tape studies always very immersive rich and unique to his sensibility gleaming seams might be my favorite yet centered around percussion drums metals plastics gongs and more the ten pieces are embedded sometimes thoroughly sometimes more gently and subtly into webs of field recordings taking various forms exterior trams skateboard park random conversations and interior atm machines computer drives etc as well there are samples from other musics including brass and orchestras that glimmer through the dim roiling haze the softly clanging metals that open numb burn draw you in immediately just as you re settling in things shift to a more irregular quasi rhythm the drums attempting to stay afloat amidst backward tape and brass flourishes buzzing electronics and more a shifting mirror like construction that leaves the listener at once disoriented and oddly satisfied kelly applies variations to this approach throughout allowing the percussion to form a kind of core the ancillary sounds swirling around at some points adhering and forming their own new structures at others now and then the electronics drift into quiet pulses creating an almost unnoticed thread loosely tying together the disparate sound worlds occasionally bearing the slightest balinese tinge the balance between the acoustic and electronic including the field recordings is perfect kelly achieves a unity that s pretty rare each of the ten tracks works extremely well on its own and the whole leaves one sated and even a little moved the darkness of the evoked soundscapes paradoxically offering some degree of nostalgia a complicated brilliantly conceived sound world highly recommended room temperature bandcamp posted by brian olewnick at 10 26 2019 01 33 00 pm no comments monday september 16 2019 antoine beuger traces of eternity of what is yet to be a new wave of jazz antoine beuger now is the moment to learn hope a new wave of jazz there have been quite a few releases of beuger s music over the past several years and it s an odd and very pleasurable thing to consider them en masse on the one hand his music is so diaphanous so air suffused that you d think it might be difficult not to mention unnecessary to differentiate them mentally on the other they re always very different there s that old amm aphorism as alike or unalike as trees that conveys something of my feelings about beuger s work in his liner notes guy peters writes that traces of eternity inspired by david patterson s hebrew language and jewish thought takes the form of a 288 page score with minimal notation on each page the performer able to dip in and out as desired to interpret as seen fit pianist dante boon one of the very finest proponents of beuger s music as well as that of many other composers associated with the wandelweiser collective chose to begin where he d previously left off on his own journey through the score single notes are struck pure and lambent strings gently caressed suspended in silence or near silence as the rooms is heard faintly as are adjustments by boon including pedaling as is often the case with beuger s music there s a combination of spareness and if not always apparent sensual beauty a resilient softness and warmth the connective tissue is gossamer but surprisingly strong now and then the piano sounds more forcefully deeply once in a while a fragment of a melody emerges but just as a glimmer something seen out of the corner of one s eye or ear then vanishing as the music flows past around the corner the same and different boon s degree of sensitivity is profound pacing the work perfectly varying his approach subtly maintaining the piece s vibrating sense of life throughout reading his text one only hopes that someday the work might be heard in its entirety now is the moment to learn hope is performed by the extradition ensemble loren chasse bell brandon conway classical guitar sage fisher harp matt hannafin bowed crotales branic howard bowed guitar evan spracht alto trombone the listener is immediately immersed into the general environment fulling of falling water and clouds of ambient sound the music is more forthright kind of oozing through the space a thicker liquid bleeding through a thinner one brief but forceful guitar and harp chords are offset by longer more languid tones from the trombone bowed guitar and crotales the music already rich at the start seems to slowly intensify though more likely it s the listener s aural acuity growing more and more perceptive as the piece unfurls car horns sound engines the bowed portions attain greater depth denser sonority though as on the earlier work the music maintains a steady character flowing and changing remaining the same traffic closing out the set a moving enveloping experience two wonderful recordings a new wave of jazz a new wave of jazz bandcamp posted by brian olewnick at 9 16 2019 03 19 00 pm 1 comment thursday august 22 2019 jason lescalleet this is what i do vol 21 glistening examples i first saw lescalleet in the early oughts on hands and knees threading crumpled loose audiotape between five or six ancient tape players the resultant sound aside there was something simply physically impressive about the sight he s a big guy a counterweight to the more typical weedy geek crouched behind an apple something almost athletic was happening something coiled and pent up ready to violently unfurl the sound of course was great those dark irregular rumbles layers upon layers of them repeating in very slow loops i was never sure how much of the sound was from recordings inscribed on the tape how much was due to their battered condition the slack way they pulled through the tape heads probably some of each lescalleet moved on and i d followed his work with reasonable closeness enjoying the great majority of it being confused now and again charmed more often i still think his the pilgrim is one of the most moving important works of the first decade of this century in 2011 he embarked on a project titled this is what i do which began by cataloguing earlier work and quickly became a kind of workbook to quickly document his current activities i heard the first two of these then lost track a few months back having reached lescalleet during my anal playthrough of my music collection i thought i d make up for that shortcoming and went to his bandcamp page only to discover that he d removed most of the twenty one recordings in that series figuring they d served his purpose by happy chance i was up in the portland maine area last month met jason for coffee and was given a copy of vol 21 first of all what a great cover no source or photographer is provided but excellent second something i just noticed while writing the graphics on the disc itself aside from the track listings leaving out the first there s what seems to be an entirely bogus set of well a list of countries in the form of a track list though not all are countries africa tabernacle evangelism network chaplaincy ministries as well as credits containing a number of humorous misprints like dublication and holy bible new international venison few of these yield much to googling lescalleet has a long standing habit of encrypting obscure references into his work either via titles or the music itself but he warned me not to go searching for such in this case so i won t except when i went to enter the release into my database at discogs i noticed the following track timings 0 11 11 11 11 11 11 11 5 55 11 11 i m sure this is mere coincidence the 11 second track consists of some buzz and crackles followed by lescalleet saying nah i don t like that gotta love it i can receive music alright is marvelous a kind of descendant of the fenn o berg theme after what sounds like some short wave conversation a lush holstian symphonic track enters expansive and billowing i feel like i know the piece but can t put my finger on it there s something of a soundtrack quality to it and is the first reason i began to think of the disc as an audio film lescalleet has often used filmic references in the past and incorporated scenes from movies in his live performances this has an overture like aspect cloudy and surging very attractive he lets it go more or less on its own for several minutes before introducing low nearly sub sonic rumblings and explosions the kind of element he handles as well as anyone around these sounds evoking large objects jostling around in vast echoing spaces like the hull of a tanker are extremely immersive and gripping kiss me picks up in that same world of hollow banging and rattling the sounds occurring more rapidly and with agitation suddenly a deep male voice says mademoiselle julianne embrassez moi after more thick dark noise the same voice intones il est mort mademoiselle and some more a noirish tinge that picks up the cinematic theme if there is one that sense of thickness by the way is something i always associate with lescalleet s work a density a feeling of multiple claylike layers oh yes there s also extremism at the end of that cut there s a sequence of some of most eardrum shredding sound i ve encountered in recent years though it feels oddly soft like having your auricular canal reamed with dental floss beware thirty percent flat is a whirlwind of electronics and natural sounds crickets tree frogs who knows what else its volume and density rising over its course like a lava flow eventually boring another clean heat blasted hole wherein sounds can scour your skull the short track korea 2002 also begins with a surge then lapses into simple piano or koto the recording is blurry enough that it s hard to tell and percussion sticks with a voice speaking briefly in i think japanese despite the piece s title it s somewhere along here or perhaps in the prior piece that my movie notion kind of breaks down quite possibly because it had no basis in reality to begin with korea 2002 is a fine mysterious piece though its principal sounds slowly getting absorbed into vague electronics and or room ambiance hello this is the minneapolis police the party is over so begins the final track followed by a snarled one two three four and a dense segue into a dance track and extreme feedback soon splaying out into a ringing desolate landscape industrial and nocturnal lynchian high tension wires this goes on for quite a while before for the piece s last 90 or so seconds giving way to some utterly gorgeous piano music again i m at a loss as to the source but feel i should know it and want to as lovely and fitting as the chopin played by george dzundza in the deer hunter a fine end to this movie and a great release this one is still available at the glistening examples bandcamp site do check it out glistening examples posted by brian olewnick at 8 22 2019 04 57 00 pm 12 comments tuesday august 13 2019 olivier messiaen quatuor our la fin de temps linda catlin smith among the tarnished stars apartment house another timbre i came to messiaen fairly late in my listening career for a long time his was a name not much more somewhere in the early 80s i picked up the philips recording of the quartet probably due to the presence of vera beths on violin whose name i knew from her involvement with a number of willem breuker projects i was way into breuker then the doré engraving on the cover didn t hurt i m sure the name of the pianist on the date reinbert de leeuw meant nothing to me at the time it had a strong effect on me both the historical facts of its creation and especially the two louanges still i filed it away and managed to more or less forget about it some years later when zorn included a cover of the louange à l eternité de jésus i recall it took me a few moments to place the work odd in any case since then i ve listened to many a reading of it and more messiaen besides though i m still far from any kind of thorough investigation i listened to a few more in recent weeks and bought an old copy of the erato vinyl an early 60s recording with huguette fernandez guy deplus jacques neilz and marie madeleine petit but apart from some obvious differences in approach it s beyond my ears and my available time to sit and do a proper comparison not that it s necessary i discussed the work a bit with keith rowe and he pointed me to this very interesting critical exchange on bbc sounds which readers might enjoy but first things first there are two works presented on this fine disc each performed by members of apartment house mira benjamin violin anton lukoszevieze cello heather roche clarinet philip thomas piano though it s not mentioned anywhere i could find including the text on the another timbre site i take it for granted that not only by virtue if the relatively unusual instrumentation but amore importantly considering its overall sound that linda catlin smith had the messiaen at least partially in mind when she composed the extremely beautiful piece among the tarnished stars 1998 the initial section s poignancy seems to be an indirect allusion to the louanges though perhaps a bit more grounded less trusting in the likelihood of spiritual salvation it shifts subtly throughout its 28 minutes maintaining a somber quality the piano hits chords evoking the striking of d...