John Zorn’s 1990 project Naked City blew my mind with a collision of free jazz and hardcore. It’s a breakneck exploration of many styles of music, often flipping channels every second or two. The album made me forever hungry for more crazy and unpredictable juxtapositions of jazz and punk.
BROM – Sunstroke (Trost Records)
Dmitry Lapshin – bass
Anton Ponomarev – saxophone
Felix Mikensky – electronics
Yaroslav Kurilo – drums
ZU & Mats Gustafsson – The King Devours His Sons (Atavistic / Trost Records)
Gorilla Mask – Hoser (Clean Feed Records)
Peter Van Huffel’s journey through the combination of jazz and rock, alien to the fusion tradition of the seventies and the collage of the nineties, proceeds with yet another opus from the Gorilla Mask gang, as always inclusive of the mindblowing rhythm section of Roland Fidezius and Rudi Fischerlehner.
Kodian Trio – I (Trost Records)
Kodian Trio have only been together since 2015. The trio of Colin Webster on alto sax, Andrew Lisle on drums, and Dirk Serries on electric guitar has been touring extensively ever since their inception. The shared experiences of the road, studio, travel, evinces a group sound which is constantly shifting, solidifying, and disappearing completely – true to the essence of free improvisation.
16-17 – The Hate Remains The Same (Trost Records)
Alex Buess – reeds, electronics
Damian Bennett – bass
Michael Wertmüller – drums
Roger Graf – guitar
Eugene S. Robinson – voice
Kasia Meow – voice
Yowie – Slowly But Surly (Skin Graft Records)
“Damning with Faint Praise” is the second full length release from Yowie. This album surpasses the girth and intensity of their debut, “Cryptooology,” an album that few have learned to decipher (or pronounce). “Damning with Faint Praise” moves through an array of multidimensional shifting structures, while inexplicably maintaining cohesion, and even, yes, grooves.
Hauf, Heather, Siewert, Weber – diiiiisko (Shameless Rocks)
We’re talking flexing, throbbing, skronking, screaming jazz-noise-rock with plenty of low end. But it isn’t just chaotic blitz; there’s real, deal interplay: a becoming of one, so to speak. file next to machine gun, the Chicago of Russell and Vandermark, Borbetomagus, Sharrock and all that good stuff. Max volume, people! – Justin Farrar
Pryapisme – Darkness Lobotomy Insurrection (Apathia Records / Never Dead)
Radian – Pickup Pickout (Thrill Jockey)
Vienna is the home of Radian, Martin Brandlmayr (drums, electronics), John Norman (bass), and Martin Siewert (guitars, electronics), who have been influenced by and shaped the city’s vivid scene of electronica in the early 2000s. Vienna is currently a wide open creative home to many new music composers and innovators. Today, the members of Radian are pillars of that community.
The title of the album, On Dark Silent Off, is a nod to Ad Reinhardt, whose art and theory has been influential on the trio.
The juxtaposition of extremes (on/off) is present in Radian’s work: the contrast between light and darkness; and in musical terms, sound and silence and brightness/darkness of timbre.
Schlippenbach Trio – With Forks and Hope (Trost Records)
Two Bands and a Legend – Too Much Fun (Smalltown Supersound)
Two Bands And A Legend is formed by The Thing, Cato Salsa Experience and Joe Mcphee
The Thing – Drop the Gun (Smalltown Supersound)
Ingebrigt Haker Flaten: Bass, Electronics
Paal Nilssen-Love: Drums
Mats Gustafsson: Saxophone, Electronics
Merzbow, Mats Gustafsson, Balazs Pandi – the fear too. invisible. (Rarenoise Records)
If jazz, as the eminent critic Whitney Balliet once wrote, is the “sound of surprise,” Cuts, an intensely cathartic, fiercely turbulent collaboration between Japanese noise purveyor Masami Akita (aka Merzbow), Hungarian drummer Balazs Pandi and Swedish saxophonist Mat Gustasfsson, is the “sound of shock and awe.” A sonic assault of epic proportions, it blends the bombast of Merzbow’s grinding white noise barrages with Pandi’s thunderous pulse on the kit and Gustafsson’s ferocious abandon on baritone sax and clarinet mixed with live electronics, bringing to mind a marriage of Lou Reed’s Metal Machine Music and Coltrane’s Interstellar Space, with touches of Sonic Youth’s sonic mayhem thrown in for good measure.
Niechęć – Taksówkarz (Wytwórnia Krajowa / Audio Cave)
OILMEN – Adam’s Mammoth (Self Released)
OILMEN share the cautionary tale of a lonely Palaeolithic who finds love when he discovers a carcass in the ice and immediately consummates. He loves the past, and he wants it back.
AppleJackBerries and I.O. – Blessed Roar (Self Released)
Ballister “Front” (Bocian)
Alto Saxophone, Tenor Saxophone – Dave Rempis
Cello, Electronics – Fred Lonberg-Holm
Drums, Percussion – Paal Nilssen-Love
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