AMN Picks of the Week: Oort Smog / Pat O’Reilly / Abdelnour & Corsano / Stereocilia / Polyorchard

Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.

Oort Smog – Smeared Pulse Transfers (2019)
Pat O’Reilly – Three Sheets to the Wind (2019)
Christine Abdelnour / Chris Corsano – Quand fond la neige, oů va le blanc? (2019)
John Scott (Stereocilia) – The Silence That Follows (2019)
Polyorchard – Black Mountain (2019)
Polyorchard – Sommian (2019)

Sucata Tapes Releases

Source: Sucata Tapes.

Banha da Cobra – Mãe D’Água
Stream of research and electroacoustic sound intervention, Banha da Cobra starts from the sonic imaginary of handcrafted, ritualistic and traditional activities and landscapes. The compositions are made as sound ruins, based on an ecology between the sustainability of the sound nature of the found – structures, places, objects, etc. – and their appropriation and transformation. The collecting inherent in this project of archaeological character is complemented with processes of alchemical manipulation like musical creation in real time.

Eosin – For Beniko
Closing our unoficial New Weird Portugal tape batch on Sucata Tapes is Eosin aka Diana Combo with a mixtape of crackling and droney vinyl mixed with Field recordings recorded outdoors on a later summer afternoon in Alentejo.

Papillon – Cercueil Flottant
New from Sucata Tapes (Discrepant), comes a mini album by Gonçalo F Cardoso’s most experimental and retro avant-garde moniker, Papillon.

Alförjs – QorusQoros
Outernational free jazz madness from Lisbon trio Alförjs. It could as well be an ethnographic soundtrack from another planet as the trio of Mestre André (saxophone, electronics), Bernardo Álvares (contrabass) and Raphael Soares (drums) delve deep into the outer realms of what jazz/electronics music can sound like.

Hour of the Wolf
New from Sucata Tapes (Discrepant), comes a new project by Berlin-based artists Pedro Silva (turntable percussion) and Stefan Brunner (guitar and field recordings).

Classical Music in N.Y.C. This Week

Source: The New York Times.

NYFOS NEXT at the DiMenna Center (March 28, 7:30 p.m.). A finalist for the Pulitzer Prize in 2017 and a crafter of “playful, thoughtful, befuddling, enchanting” music, as my colleague Zachary Woolfe has put it, Kate Soper curates this concert under the New York Festival of Song umbrella. She sings two excerpts from her next opera, “The Romance of the Rose,” as well as “The Understanding of All Things.” There’s also music by Kaija Saariaho, Natacha Diels and Alvin Lucier. Charlotte Mundy and Charmaine Lee are the other featured vocalists; Sam Pluta is in charge of the electronics.
nyfos.org/nyfos-next

TYSHAWN SOREY at Miller Theater (March 28, 8 p.m.). Sorey has had such success in the past few years that he barely needs one of the Miller’s important composer portraits to spotlight his art, but any opportunity to hear his music is a welcome one. Here there’s a world premiere, “Autoschediasms,” for “creative chamber orchestra,” as well as five other pieces. The International Contemporary Ensemble and the JACK Quartet are on hand to play.
212-854-7799, millertheatre.com

AMN Reviews: Pat O’Reilly – Three Sheets to the Wind (2019; Gold Bolus)

Despite its title, there is nothing inebriated about Pat O’Reilly’s Three Sheets to the Wind EP. Instead, it falls into that winning category of short bursts of energy – an album that says its piece with authority then steps aside.

O’Reilly has a storied history that probably is worthy of further exploration in the future. For now, it suffices to say that he is a composer and improviser who currently works for the New York Philharmonic, and has played punk, rockabilly, world, and modern classical music.

Three Sheets to the Wind consists of four deceptively complex tunes centered around O’Reilly’s compositions, but includes improvisational elements as well as post-recording manipulations. O’Reilly plays drums, keyboards, and amplified berimbau, David Whitwell is on trombone, Adam Forman contributes vibraphone, Joe Fee provides bass, Chad Walther is on tuba, and Max Alper supplies electronics.

Two of the pieces, Dehydrated Doom Jazz and Belligerent Extension, are layered free improvisations that ultimately have a composed feel – perhaps due to post-hoc studio processing. On the other hand, Trio TBD Remix features O’Reilly, Whitwell, and Walther playing in a structured fashion that is both intricate and catchy. Whiplash for Dads rounds things out with the full group playing chamber jazz that explores tonalities.

At right around 15 minutes, O’Reilly’s offering is a tease of what we might eventually hear more of on a longer release. And such a follow-up would be welcome given the unusual and compelling qualities of this album.