Retox, Ugly Animals (2011)

All that matters in the grand scheme of things is the band is not directly comparable to what has come before them. But if we must:

RETOX is an outcome of stagnant and boring western culture, as well as the self-proclaimed counterculture, which has slipped into a sea of pointlessness. The band manages to detach themselves from what one might consider a promotional paragraph trying to explain what is not really important to the band themselves; such as a list of influences—they are influenced by much more than music, but more so by the world at large. The band has no goal for what the future holds.

Sonically, the band’s crude and primitive aspects make sense in this day and age. The band is a reaction to the world that the members and their comrades have lived in: shitty childhoods, bureaucratic frustration, and the overall justification of continuous war. That sensibility coupled with a modern artistic delivery, the music is educated as well as furious, and most importantly, blurring genre lines of punk, hardcore, thrash, metal and whatever else seems fitting to the critics. RETOX features members of some grand dick sucking accomplishments, acts such as The Locust, Head Wound City, Holy Molar, All Leather, Some Girls, Swing Kids, Le Butcherettes, Cattle Decapitation, Struggle, The Festival of Dead Deer, and The Crimson Curse.

1.  The World Is Ending And It’s About Time

2.  Thirty Cents Shy Of A Quarter

3.  A Bastard On Father’s Day

4.  A Funeral On Christmas Sunday

5.  Stick A Fork In It

6.  Cement Sucking

7.  Boredom Is Counter-revolutionary

8.  Ten Pounds Of Shit In A Five Pound Bag

9.  A Captive Audience

10. Sorry We Are Just Not Compatible

11. Piss Elegant

Michael Crain: Guitar

Thor Dickey: Bass

Gabe Serbian: Drums

Justin Pearson: Vocals

info |

http://www.ipecac.com/artists/retox

http://punkworldviews.com/retox-ugly-animals-review/

Humble Grumble, Flanders Fields (2011)

Humble Grumble proudly announces the release of their new CD. It's why you could be yelling 'hippopotamus' all the time... Eleven brand new tracks, taking the arrangements and vocal harmonies to a new level. The band has evolved into a smoothly running machine of joy, playfulness and mischief. An awkward landmark in the fields of Flanders.

"The well composed complexity remains, and more and more vocal harmonies are added too, becoming a group project more than a lead singer with a strange and skilful band. Thanks to the professionalism in the arrangements, the band still distinguishes itself amongst the many other theatrical bands on the international scene. (Somehow all of these bands should be brought together on one stage in some event some time or another). This surely is one of the best contemporary Belgium examples." (www.psychemusic.org, Flanders Fields album release)

1. Sirens Dance

2. Aging Backwards

3. Flanders Fields

4. Sleepless Night

5. Horny

6. Little Bird

7. Duck On A Walk

8. The Greatest Kick Of The Day

9. Never Lose Your Mind

10. Love Song

11. Purple Frog

Jonathan Callens: Drums, backing vocals (9)

Jouni Isoherranen: Bass, backing vocals  (5, 9)

Gabor Humble Vörös: Guitar, vocals

Pol Mareen: Saxophone

Pedro Guridi: Clarinets, backing vocals (5)

Pieter Claus: Marimba, vibraphone, percussions

With:

Lisa Jordens: Backing vocals (3, 5, 6, 7, 8 )

Hanneke Osterlijnck: Backing vocals (3, 6)

Joriska Vanhaelewyn: Backing vocals  (2)

Juan Carlos Torres Iturra: Spanish vocals (6)

Leika Mochan: Backing vocals (9)

Attila Czigany: Harmonica (6)

Joris Buysse: Flute  (6)

Fre Vandaele: Whistle (3, 4)

Wouter Vandenabeele: Violin (4)

Megan Quill: Vocals (10, 11)

Franciska Roose: Vocals (10, 11)

info |

http://humblegrumble.com/?q=node/29

http://www.prog-sphere.com/2011/06/20/humble-grumble-–-flanders-fields/

http://www.progarchives.com/album.asp?id=34417&utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed%3A+Progarchives%2Fnewreleases+%28New+Releases+-+Progarchives.com%29

Hella, Tripper (2011)

Some folks think if you've heard one Hella album you've heard them all, but they're overlooking the intricate subtleties that make the band such a monster. The one constant, though, is its insanely complex approach — of all the bands ever labeled "math rock," Hella is the only one that honestly seems to rise to the term. The group's new record is a crushing amalgam of everything in its rearview. What Tripper lacks in Hold Your Horse Is-style melody, it makes up for in brute force. For the first time ever guitarist Spencer Seim actually seems willing to match energy levels with drummer Zach Hill, who remains, with all his guest spots and insanely unknowable poly-rhythms, the hardest-working drummer in rock. Tripper unravels crazily as it goes from tightly melodious prog anthems ("Headless") to psych-out mindfuckery ("Netgear"), making for a thoroughly exhilarating, if enigmatic, listening experience. Not for the faint of heart.  (http://clatl.com)

1. Headless 

2. Self Checkout 

3. Long Hair 

4. Yubacore 

5. Netgear 

6. Kid Life Crisis 

7. On The Record

8. Furthest

9. Psycho Bro 

10. Osaka 

Spencer Seim: Guitar 

Zach Hill: Drums 

info |

http://hella.bandcamp.com/

http://www.facebook.com/pages/Hella/293833307223 

http://www.sargenthouse.com

Marion Brown, Porto Novo (1967)

This was one of altoist Marion Brown's best recordings. Although a very adventurous improviser, Brown usually brought lyricism and a thoughtful (if unpredictable) approach to his music. Accompanied by bassist Maarten van Regteben Altena and drummer Han Bennink for this stimulating session (recorded in Holland), Brown stretches out on five of his compositions and is heard at the peak of his creative powers. ~ Scott Yanow, All Music Guide

01. Similar Limits

02. Sound Structure

03. Improvisation

04. Qbic

05. Porto Novo

06. And Then They Danced

07. Rhythmus No. 1

Marion Brown: Alto Saxophone, Percusion

Maarten Van Regteren Altena: Bass (track 1 to 5)

Han Bennink: Drums (track 1 to 5)

Wadada Leo Smith: Trumpet, Percusion (6, 7)

marionbrown

info |

http://www.discogs.com/Marion-Brown-Porto-Novo/release/1356949

http://www.artistdirect.com/nad/store/artist/album/0,,58078,00.html

Frode Gjerstad & Paal Nilssen-Love, Gromka (2010)

This duo recording with fellow-countryman and drummer Paal Nilssen-Love, was recorded a year ago at Klub Gromka in Ljubljana, Slovenia. Both musicians had already toured before this performance and that can be heard. the interaction is quite fun to listen to, rapid, telepathic even at moments, which is even clearer in an environment where everything is left to in-the-moment decisions. Gjerstad does fall back quite a lot on the higher registers, making music like excited birds in the trees, as said before. As Gjerstad describes it himself on his blog, about this performance : "Since we last played as a duo which was in August last year in the US where we played 13 gigs, I think the music has become more focused and freer. I have to admit that I think this has to do with the fact that I have been practising a bit more than before and therefor feel more relaxed when playing….". (freejazz-stef.blogspot)

01. Svirel (32:24)

02. Klopotec (09:29)

03. Ragija (25:19)

Frode Gjerstad: Alto saxophone, Bass & Bb Clarinet

Paal Nilssen-Love: Drums

info |

http://frodegjerstad.com/

http://www.paalnilssen-love.com/

http://www.nottwo.com/PelnaPlyta.php?Id=386&W=0

http://theshop.free-jazz.net/frode-gjerstad-paal-nilssen-love-gromka-nottwo-records/shop/music-label-and-artists/

Aram Bajakian's Kef, Aram Bajakian's Kef (2011)

Tzadiks’s newest Spotlight series focuses on exemplary young bands with great dedication, passion, talent and imagination. This third release features the debut recording of Brooklyn-based Aram Bajakian’s newest unit Kef, named for the Armenian dance music that combines both traditional and western instruments and influences, often in electrified bands. Aram is a shredding guitar player who is passionately proud of his heritage and is advancing the Kef tradition in very exciting ways by combining modern rock and noise with traditional Armenian forms. The music here rocks hard with exciting rhythms, searing guitar work and beautiful world music melodies, beautifully performed by a brilliant group of young lions.

1. Pear Tree

2. Sepastia

3. Laz Bar

4. Sumlinian

5. Wroclaw

6. Karasalama

7. Hayastan

8. Raki

9. Pineta

10. Shish

11. 48 Days

12. La Rota

Aram Bajakian: Electric And Acoustic Guitars 

Shanir Ezra Blumenkranz: Acoustic Bass 

Tom Swafford: Violin 

info| 

http://www.arambajakian.com/ 

http://www.tzadik.com/index.php?catalog=7803

http://www.allaboutjazz.com/php/article.php?id=39879

Vijay Iyer with Prasanna & Nitin Mitta, Tirtha (2011)

Individually, Indian-American pianist-composer Vijay Iyer, Chennai (formerly Madras)-born guitarist-composer Prasanna, and Hyderabad native and tabla player Nitin Mitta are already highly accomplished artists who shift easily among multiple musical languages. Together, they have achieved a fully realized, deeply thoughtful, and truly innovative collaboration. Combining the elemental directness of rock, the chamber-like intimacy of raga, and bebop’s hard, angular drive, Tirtha achieves a profound interplay of melody and rhythm that characterizes the best jazz.

1. Duality

2. Tribal Wisdom

3. Tirtha

4. Abundance

5. Falsehood

6. Gauntlet

7. Polytheism

8. Remembrance

9. Entropy And Time

Vijay Iyer: Piano

Prasanna: Guitar, voice

Nitin Mitta: Tabla

©Lynne Siler Photography

info | 

http://www.actmusic.com/product_info.php?products_id=324

http://jazzandblues.blogspot.com/2011/03/vijay-iyer-prasanna-and-nitin-mitta.html

Béla Fleck & The Flecktones, Rocket Science (2011)

Bela Fleck is the only musician to be nominated for Grammys® in jazz, bluegrass, pop, country, spoken word, christian, composition and world music categories. His totalcount is 11 Grammys® won, and 27 total nominations. Groundbreaking banjoist/composer/bandleader Béla Fleck has reconvened the original Béla Fleck & The Flecktones, the extraordinary initial line-up of his incredible combo. Rocket Science marks the first recording by the first fab four Flecktones in almost two decades, with pianist/harmonica player Howard Levy back in the fold alongside Fleck, bassist Victor Wooten, and percussionist/ drumitarist Roy Futureman Wooten. Far from being a wistful trip back in time, the album sees the Grammy® Award-winning quartet creating some of the most forward thinking music of their long, storied career. While all manner of genres come into play from classical and jazz to bluegrass and African music to electric blues and Eastern European folk dances the result is an impossible to pigeonhole sound all their own, a meeting of musical minds that remains, as ever, utterly indescribable. Simply put, it is The Flecktones, the music made only when these four individuals come together. I didn t want to just get together to play the old music, Fleck says. That s not what the Flecktones are about. Everybody s full of life and ideas and creativity. I was intrigued by what we could do that we had never done before. 

Visionary and vibrant as anything in their already rich canon, Rocket Science feels more like a new beginning than simply the culmination of an early chapter. The band now embarks on an extensive tour, and there s no telling how this new music will further develop in performance. We re going to have to have this experience together and see how everybody likes it, Fleck says. I know that we haven t even come close to exhausting the possibilities with this record, but we sure went deeper than we ever had before.

1. Gravity Lane 5:58 

2. Prickly Pear 3:49 

3. Joyful Spring 2:40 

4. Life In Eleven 5:25 

5. Falling Forward 5:10 

6. Storm Warning 7:58 

7. Like Water 4:41 

8. Earthling Parade 7:58 

9. The Secret Drawer 2:12 

10. Sweet Pomegranates 5:55 

11. Falani 6:51 

12. Bottle Rocket 5:52 

Victor Wooten: Bass, Composer, Fretless Bass

Future Man: Percussion, Drums, Composer

Béla Fleck: Composer, Producer, 5-string Banjo, Electric Banjo

Howard Levy: Harmonica, Piano, Composer, Bass Harmonica

info |

http://www.allaboutjazz.com/php/article.php?id=39543

http://jazztimes.com/articles/27643-rocket-science-bela-fleck-the-flecktones

http://www.artistdirect.com/nad/store/artist/album/0,,8778628,00.html

Peter Evans Quintet, Ghosts (2011)

"The Peter Evans Quintet's Ghosts acts as a sort of back-to-the-future recording—that is, if the present were 2021. This inaugural release on the trumpeter's own label has a standard trumpet/piano/bass/drums setup, plus the incorporation of real-time, live electronic processing to make up the full quintet.

Listening to any recording by Evans often prompts the dubious query, "What did I just hear?" since this über-talent is equally comfortable in the worlds of jazz, classical, and free improvisation. Like his compatriot Jon Irabagon, from the reckless post-post-bop band Mostly Other People Do The Killing, Evans has talent on loan from the jazz gods. His trumpet can be heard onElectric Fruit (Thirsty Ear, 2011) with Weasel Walter and Mary Halvorson, in duos with fellow trumpeter Nate Wooley or bassist Tom Blancarte, and in compelling solo settings. Evans' experiments in electronics began with a session in Evan Parker's Electro-Acoustic Ensemble. But where that was a large troupe, the quintet heard here emphasizes the contributions of Sam Pluta.

The disc opens with ..."One to Ninety-Two," Evans' reinterpretation of Mel Tormé's "Christmas Song." While the harmonies of the original remain, the band reworks its context. Opening with an intimate club scene, the humans acoustically play with the time signature, speeding and slowing time while their sound is processed via electronics. What is presented is a trumpet sounding much like Ben Neill's mutantrumpet, with electronic gnats buzzing the bandstand. Evans is free to improvise on the melody, while the electronics act as equal partner.

What the music is not is a mash-up or remix. Plata's manipulations can either act as a gentle wash, as it does on the ballad "Ghosts," or a buzzing retro-robot on "The Big Crunch," with Evans sitting out and the piano/bass/drums pounding out the pulse for a slot machine solo. This disc doesn't lack for Evans' multiphonic register leaps and superb group interactions, it's just that the ghost in the machine here happens to be human.

Ghosts is a modern classic of the future." (allaboutjazz.com)

1 …One To Ninety Two 14:55

2 323 9:19

3 Ghost 5:35

4 The Big Crunch 2:55

5 Chorales 7:29

6 Articulation 14:38

7 Stardust 2:41

Peter Evans: Trumpet, piccolo trumpet

Carlos Homs: Piano

Tom Blancarte: Bass

Jim Black: Drums

Sam Pluta: Live processing

info |

http://moreismorerecords.com/

http://www.myspace.com/peterevanstrumpet

http://www.allaboutjazz.com/php/article.php?id=39119