Dusted Reviews

Keith Rowe performing solo at the AMPLIFY 2008...
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From Dusted:

Artist: Peter Wright
Album: An Angel Fell Where the Kestrels Hover
Label: Spekk
Review date: Jan. 11, 2010

Artist: Keith Rowe / Sachiko M
Album: Contact
Label: Erstwhile
Review date: Jan. 8, 2010

Artist: Burkhard Stangl / Kai Fagaschinski
Album: Musik — Ein Porträt In Sehnsucht
Label: Erstwhile
Review date: Jan. 7, 2010

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Dusted Reviews

From Dusted:

Artist: Phill Niblock
Album: Touch Strings
Label: Touch
Review date: Oct. 26, 2009

Artist: Henry Threadgill Zooid
Album: This Brings Us To, Vol. 1
Label: Pi Recordings
Review date: Oct. 26, 2009

Artist: OOIOO
Album: Armonico Hewa
Label: Thrill Jockey
Review date: Oct. 21, 2009

Artist: Do Make Say Think
Album: Other Truths
Label: Constellation
Review date: Oct. 20, 2009

Artist: Espers
Album: III
Label: Drag City
Review date: Oct. 20, 2009

Artist: Sufjan Stevens
Album: The BQE
Label: Asthmatic Kitty
Review date: Oct. 19, 2009
Read This Review

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Free Jazz Blog Reviews

From Free Jazz:

Saturday, October 24, 2009
Darius Jones Trio – Man’ish Boy (AUM Fidelity, 2009) ****
“Call Before You Dig,” Sonore (Okka Disk)
“Light On The Wall,” Daisy/Vandermark Duo (Laurence Family)

Thursday, October 22, 2009
Digital Primitives – Hum, Crackle & Pop (Hopscotch, 2009) ****

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Dusted Reviews

From Dusted:

Artist: Trad Gras Och Stenar
Album: Homeless Cats
Label: Subliminal Sounds
Review date: Sep. 11, 2009

Artist: Jim O’Rourke
Album: The Visitor
Label: Drag City
Review date: Sep. 8, 2009

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Sonomu Reviews

From Sonomu:

Christopher DeLaurenti, Favorite Intermissions (GD Stereo)
“I adore listening”. That heart-felt declaration comes from guerilla field-recordist Christopher DeLaurenti, whose Favorite Intermissions is actually the result of an illegal act, at least in the eyes of the American Musician´s Union (the same union that back in the eighties attempted to ban the… [read]
Posted by Stephen Fruitman at 06:42, 09 Jul 2009

Now Ensemble, Now Ensemble (New Amsterdam)
The Now Ensemble is a septet showcasing compositions by its own members on this, its debut album. Plus one piece by Nico Muhly, the current darling of an inspiring form of urban pastoralism within “loft and gallery pop/art” music. Its members include Judd Greenstein (who also mans the record label)… [read]
Posted by Stephen Fruitman at 13:26, 07 Jul 2009

Mantis, Dubious (Tiltloose)
Mantis are a Japanese duo consisting of Moss and La-Pachu who have spent several years honing their craft unveiling themselves to the world on this cleverly-titled debut (which has already been championed by Rob Smith of Smith & Mighty). The cover art by one Drawize is a kick too, a mind-boggling… [read]
Posted by Stephen Fruitman at 04:55, 05 Jul 2009

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Dusted Reviews

From Dusted:

Artist: Acid Mothers Temple and the Melting Paraiso U.F.O
Album: Lord of the Underground: Vishnu and the Magic Elixir
Label: Alien8
Review date: Jun. 19, 2009

Artist: Wrekmeister Harmonies
Album: Recordings Made in Public Spaces, Vol. 1
Label: Atavistic
Review date: Jun. 19, 2009

Artist: The People Band
Album: 69-70
Label: Emanem
Review date: Jun. 18, 2009

Artist: Blue Sabbath Black Cheer
Album: Crows Eat the Eyes From the Leviathans Carcass
Label: Release The Bats
Review date: Jun. 17, 2009

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Bagatellen Reviews

From Bagatellen:

three from Thessaloniki

Organized Music From Thessaloniki, Kostis Kilymis’ new-ish label out of his native Greece, has picked up the pace in its release schedule, here contributing three distinctive and listenable discs in a year that’s thus far been packed with gems. Experimental music is not without its share of notable Greek musicians, but for whatever reason […]

Jozef van Wissem – A Priori (Incunabulum)

Lutanist Jozef van Wissem has been productive of late, releasing a strong series of solo discs – along with a standout partnership with Tetuzi Akiyama – in the handsome black sleeves he favors on his Incunabulum imprint. So when I received the glossy white A Priori, I was more intrigued than usual. The spaciousness […]

Art Hodes – Up in Volly’s Room

Art Hodes has long had home at Delmark. Despite recording for a variety of other imprints over his lifetime, it’s the Chicago label that continues to keep the departed pianist’s candle lit by keeping the highest percentage of his albums in print. Case in point, this 1972 jam session recently re-minted from its first 1992 […]

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Mode Records Releases

Sun Ra
Sun Ra (via

From Mode Records:

The Respect Sextet: Sirius Respect – The Respect Sextet play the music of Sun Ra and Stockhausen

Garth Knox: Viola Spaces

Peter Ablinger: 33-127

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Upcoming Shows at Pyramid Atlantic

From DC’s Sonic Circuits:

Sunday April 19
Doors 630pm Music 7pm SHARP

8230 Georgia Avenue, Silver Spring MD 20910
located three blocks south of the silver spring metro station (red line)
Free parking in gated lot out front

Chuck Bettis, Mikey IQ Jones, and Derek Morton are mad jugglers of oddly-shaped musical eggs. Processed banjo, shamanistic chants, and fried electronics set up against lattices of stuttered beatboxing and found-object percussion to confound and delight.

Chuck Bettis and Derek Morton met each other in Washington DC, crossing paths as part of that citys burgeoning experimental music community. Upon relocating to New York City, the two began collaborating as a duo before IQ Jones joined them in early 2007. IQs alarm clocks, duck calls, and array of unlikely sound devices provide a lively counterpoint to Bettis machine noise and Mortons chaotic circuits.

In the 90s, Chuck Bettis shook up Washington DC with no-wavers the Metamatics, his solo electronics moniker Trance and the Arcade, and the genre-traversing collective All Scars before relocating to NYC in 2002. He has since collaborated with revered downtown improvisers John Zorn, Fred Frith, and Ikue Mori (amongst others), and has recorded with such groups as Nautical Almanac, Yellow Swans, and Measles Mumps Rubella.

NYC-based vocalist/percussionist/one-man bomb squad Mikey IQ Jones has presented frankensteined collusions of performance art theatrics, mutant soul harmonies, beatbox & extended vocal technique, kitchen-sink live sampling aesthetics, and onomatopoeic wordplay in solo performances since 2003. His otherworldly rhythms, created exclusively with the sounds of IQs voice and a small handful of household objects, have captivated crowds and crossed genre-lines, resulting in performances from CBGBs and the downtown improv school to uptown hip-hop block parties and choreography collaboration.

Derek Morton has generated and manipulated sound since the early 1990s. From his days as a rock guitarist and record label owner to more recent forays into performance curating and gallery installation, he has relentlessly investigated the possibilities of audio in all contexts. He is equally interested in live improvisation, studio research, exploratory composition, and electronic reconfiguration. Mortons sound experiments have attacked everything from cutting-edge technologies like surround-sound to reinvented tools like handheld video game consoles and controllers. His work with violinist John Coursey in the duo Mikroknytes has resulted in numerous performances around the U.S. as well as four full-length CDs.

U.S. Girls
If the alluring moniker used by Megan Remy conjures images of volleyball teams or cheerleading squads, forget it. Not that there’s any doubt that Remy–sorry, U.S. Girls–couldn’t rise and conquer either challenge.
Like fellow DIY ingenues Sally Strobelight and Inca Ore, U.S. Girls’ approach is deceptively ethereal and delightfully haunting; lithe, lysergic gamma rays of keyboard murk beamed over percussive bonk sort of resemble Diamanda Galas reinterpreting Suicide’s Red Star. And dig that cover of Bruce Springsteen’s “Prove It All Night,” done in such an effortless, barbital lush you’d swear the air was filled with mescaline. Guess what? It’s not.

A kind of warped antidote to most of the over-earnest indie rock that tends to dominate the airwaves, Pilesar is disposable, playful, intermittently brilliant nonsense, conjured on a four-track using a bunch of cheap instruments. He kicks your butt and you enjoy it in the process.

Corpus Callosum
Corpus Callosum is Doug S. (amplified cello & effects) and Scott N. (arp analogy synthesizer, roland 808-ex, and effects/loops). Together we focus on a mix of melodic and atonal drones. The music is inspired by musicians who have explored the impact of frequencies on the conscious and unconscious mind as well as feelings of despair triggered by empathy for those who suffer day in and day out often as a result of third world exploitation.

April 22
A very Special Evening with Professor Eugene Chadborne
8pm $8

April 23
MEM1, Area C, Fast Forty
8pm $7

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Firehouse 12, One-Stop Jazz Hub, Prospers in New Haven

The Times raves about Firehouse 12:

JULIAN LAGE, a fastidious young guitarist, waited for the applause to subside before bantering with his audience at Firehouse 12 last Friday night. He and his band were playing songs from “Sounding Point” (Emarcy), his brand-new debut; the next piece, he said, had to do with exploring sound in a physical space, responding to the feeling of a room. And, he added, “there’s really no better room than Firehouse 12.”

That comment didn’t come across as ingratiating, because Mr. Lage seemed genuinely impressed. He isn’t alone: since opening four years ago Firehouse 12, a stylishly repurposed 1905 firehouse in the Ninth Square neighborhood here, has earned a reputation as the pre-eminent spot for improvised music in the region. It has also won acclaim as a state-of-the-art recording studio and for housing a record label with a focus on artists more aggressively experimental than Mr. Lage. On the whole the operation, which includes a separate bar downstairs, suggests a model of sustainable activity for a field as transparently noncommercial as avant-garde jazz.

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