In the winter months, experimental chamber/folk/jazz group Trepanning Trio abandons its “tunes” and embraces the chaos of free-improvisation. Naked As Needles: Collected Improvisations, Volume 1 represents the band’s favorite excursions into spontaneous sound creation.
These tracks, recorded at live performances over the past few years, reflect the band’s joy in impromptu musical exploration. Each track is unique and features a different lineup of musicians and instruments/objects/sound-makers.
This album is available for free download at the request of the artist. Enjoy and share freely.
ensemble, et al.‘s ﬁrst full-length record, “present point passed“, ensemble, et al.’s ﬁrst full-length record, “present point passed”, is the culmination of an incredibly productive period in which the group coalesced artistically into its own ideal of a musical unit. Since the beginning, the members of ensemble, et al. have shared a few key traits in common: an afﬁnity for minimalist-vein new music, formal training in classical and jazz percussion, and—most importantly—extensive experience writing and performing in collaborative rock bands.
For the group, the process of composing, rehearsing, and recording present point passed was an afﬁrmation that a balance can be struck between adventurous, composer-driven music in the contemporary classical tradition and the collaboratively-created and improvised music of modern popular music traditions. That dual awareness has manifested itself not just in the sound of the group’s music but also in their attitude and approach toward composition. The result of this approach is a record that powerfully demonstrates a democratic creative effort and the collective aesthetic of the group’s members.”>present point passed“, is the culmination of an incredibly productive period in which the group coalesced artistically into its own ideal of a musical unit. Since the beginning, the members of ensemble, et al. have shared a few key traits in common: an afﬁnity for minimalist-vein new music, formal training in classical and jazz percussion, and—most importantly—extensive experience writing and performing in collaborative rock bands.
For the group, the process of composing, rehearsing, and recording present point passed was an afﬁrmation that a balance can be struck between adventurous, composer-driven music in the contemporary classical tradition and the collaboratively-created and improvised music of modern popular music traditions. That dual awareness has manifested itself not just in the sound of the group’s music but also in their attitude and approach toward composition. The result of this approach is a record that powerfully demonstrates a democratic creative effort and the collective aesthetic of the group’s members.
There’s “lo-fi” and then there’s “old cassette releases lo-fi”. The new massive track listing from the Electric Grandmother is in the second category. Pete and Mary-Alice Faust have warned the general public that this collection is more for their hardcore, long-term fans – but anyone can enjoy it, especially if you have a fondness for Saved by the Bell.
The songs are in chronological order, and are arranged by each cassette “album” they appear on. A .pdf of fun Electric Grandmother factoids is included in the download along withartwork for each cassette.
The songs have been remastered by Pete Faust (Etep Tsauf) himself, and the original (most of it, Etep drew that cover and did some other bits and pieces) artwork/packaging by Mary Alice Hamnett (Donna Jo Tanner) has been digitally restored (they scanned them).
he title Infamouse was created one day by accident, when Auerbach-Brown’s son accidentally
misspelled the word “infamous” with a silent E. The cover art is nothing more than a picture of
Auerbach-Brown’s hand covering the lens of his smart phone. Taken on a sunny day, the sunlight
shining through his hand created a beautiful pink image, much like the way the inside of one’s
eyelids look as one drifts off to sleep on a warm, sun-bathed beach. The music often evokes a relaxed
and thoughtful mindset, but one or two songs will kick your arse and bring you back to reality.
Love in an Escalator, The Electric Grandmother’s 7th full-length release is their most sonically ambitious album to date, recorded over two years amidst the band’s move from Columbus, Ohio to Washington DC.
The title-track is a declaration to move onward and upward, a couple weathering the storm of transition and change. As illustrated by the emotive cover art by Anna Bihari, the band continues to press on with an “Us against the world” mentality, all the while determined to remain free spirits.
Pete Faust continues to defy songwriting convention while adhering to cohesive pop melodies in the style of an electronic-Ramones. In addition to her duties as the band’s live multimedia artist, Mary Alice Hamnett joins in on backup vocal duties, adding a saucy dynamic not heard before on previous EG albums. With this, the band finalizes what had been an ongoing transition from solo-to-duo.
Faust presents his usual sense of humor and postmodern sensibilities with observational quips about near-modern and contemporary entertainment on songs such as “The Internet,” “Virtual Reality Helmet,” and “Sitcom-Core,” a tongue-in-cheek analysis of the very genre he invented. The TV Sitcom themes are more often present on this album as metaphor and allegory, while occasionally still tackling the subject (The Cosby Show) head on in songs like “Mr. Clyde.” Faust’s wide musical influences are on display throughout – “Reagan’s Got the Bomb” is a tribute/parody of 80’s hardcore punk, while “Mom, What are Girls Like?” harkens back to old school hip-hop. The album is avant-garde without being pretentious, because while the band has matured musically, the subject matter clearly demonstrates the lack of maturity we’ve come to expect.
Love in an Escalator is available now for free download or for purchase in Deluxe, Standard, or CD formats. The Deluxe download has TEN additional bonus tracks – don’t miss out!
Electro-rock luminaries Infinite Number of Sounds release their 4th full-length album “Curio 2000-2012“, a collection of songs written and recorded for one-off live performances, indie films and art installations, as well as several songs cut from their most popular release, Radio Whales, due to time constraints.
This retrospective collection contains 16 unreleased tracks from throughout the band’s history, featuring music written music by the four original members of Infinite Number of Sounds (Brent Gummow, David Mansbach, Matt Mansbach and Ron Tucker) as well as contributions by Ed van der Kuil (Dink), cONScIENcE (Basement Love Underground), Jacob Wynne (Revolution Brass Band), Clayton Vaughn (Boulder Chamber Orchestra), Eric Alleman, Daniel Raible and Heather Manalili (ToBoxWithMan) and about a dozen zombie films.
Paul Stranahan is a drummer, composer, marimba player and teacher. He is the bandleader for PSI (Paul Stranahan’s Insomnia) and The Paul Stranahan Trio. He performs regularly with avant-metal band Red Side Visible and improv ensemble, Broadview Collective. Paul’s “Gong and Singing Bowl Improvisations” double album is his first solo release.
Mr. Stranahan’s compositions as a bandleader are technical and complex, but this solo gong and singing bowl setup allows him to experiment with different sounds and textures without regard for form.
Powered by three veterans of the Cleveland jazz scene, Monkeyspoon was an opportunity to react in the moment with trust and passion, inspired by a desire to be free in a three-dimensional world.
Their new album “Alone in the Desert” was recorded at a time where Peter “pedro” Dell (Djembe, Bongos, Paint Can, Percussion), Jack Novatny (Tenor and Soprano Sax, Bass Clarinet, Flute), and Ron “ERU” Smith (Piano, Fretless and Upright Bass) were all musically, spiritually, and emotionally trying something new and uncharted. The improvisations captured on “Alone in the Desert” represent a musical give and take in sounds, colors, and rhythms. It was a very unique reunion of long standing friendships and where they were able to express their own personal journeys through the music.
Cloudlands is the first solo album by Kris “skinnyk” Morron. It is a collection improvised musical conversations between Kris (guzheng) and Dan Wenninger (soprano saxophone) or Andrea French (cello). Each piece is concurrently haunting and beautiful, conflicting and gentle. Music of this nature can only be created between musicians who know and trust each other and are of one mind when it comes to creating musical tapestries. The tracks captured on this album are simultaneously of the moment and years in the making.
As a trombonist, composer, teacher and arranger, skinnyk has been a significant contributor to the Cleveland music scene for over 15 years. Music fans around the Midwest are familiar with his work with ensembles including Mifuné, The Revolution Brass Band, Trepanning Trio, and the Aphrodesiatics. Kris is also a highly sought-after sideman and arranger who has worked with Carlos Jones and the PLUS Band (2009’s Leave a Trail), the Lakewood Project, a nationally acclaimed rock orchestra, and many other Cleveland-based ensembles. Most recently, skinnyk regularly performs with the Revolution Brass Band, Champion Bubblers International, Trepanning Trio, and the up-and-coming experimental dance group, the Looking-Glass Project.
Dan Wenninger is a long-time friend and colleague and a member of the Revolution Brass Band, Trepanning Trio and the free jazz trio, Oblique Orchestra. Andrea French is one of skinnyk’s college friends who has performed and recorded with Rise Against and numerous other artists on the Wind-Up Records, Warner Brothers, and Universal labels.
From the Sun News: “Kris Morron, Trepanning Trio offer musical journey in Lakewood”.
In the early 1990’s, Creamy Water Quiz (CWQ) experimented with an early music software program named Aegis Sonix on a Commodore Amiga 500 computer. Recording Sonix on a 4-track, with some synths and an assemblage of effects, they created some unabashedly unconventional psychedelic music.
Fast forward almost two decades, to August 2011, when these sessions are ‘re-discovered’ by Ryan ‘Delano’ Davis. CWQ decides to remix select tracks from this bygone analog era. “It’s All Your Vault: The Early 90’s Reinterpreted” is a modern perspective on some pre-millenium lo-fi reverberations. The goal of “It’s All Your Vault” was to preserve the linear and analog qualities of the original recordings, while infusing some new moxie via the digital domain with filters, compressions and an ambient approach to mixing.
We caught up with Adam ‘Miracle Kitty’ Walker, the other co-founder of the project and asked him a few questions about this new release.
Brent: Describe your technical process for creating this album?
Brent: What is the one tool that a CWQ album couldn’t be made without?
Brent: What is the oddest sample used in the recording?
Brent: What do you see when you hear these songs?
Naturally occurring right angles.
Triumphant wonderment of re-purposed robots.
The old analog future.