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Pain Beasts of Collapsing Consumption

from Psychotic Redaction by Michael Zerang / Kyle Bruckmann / Jim Baker

/
  • Compact Disc (CD) + Digital Album

    Avant Jazz / Free Improvisation / Avant-Garde
    Improvised Music Series

    musicians:
    Michael Zerang: drums, percussion
    Kyle Bruckmann: reeds
    Jim Baker: piano, electronics

    total time: 42:31
    Recorded at Clave Recording Studios, March 22, 2006 by Todd A. Carter (engineer).
    Mixed at belAir Studios.
    Art, photo, typo and design by Marek Wajda.

    tracklist:
    1. Anxious Expectations of Paradise 6:49
    2. We All Sleep Seared in Firey Wire 4:25
    3. Pain Beasts of Collapsing Consumption 3:28
    4. All Our Treasures Turned to Avalanche 4:37
    5. 20,000 Light Year Ping Pong Party 6:27
    6. Strech Marks in Space Time 6:27
    7. No Climax for the Concious Dead 5:32
    8. Bagpiping in the Shattered Vision Ward 4:12

    composed by Jim Baker, Kyle Bruckmann and Michael Zerang

    multikulti.com:
    liner notes:
    1.While listening to this record, if I closed my eyes, I managed a vague, if largely false, memory of being present at a Smithsonian Folkways recording session in some obscure basement in Mumbai or Tunisia. A mad rumba line was twisting insect - like through the cabaret, driven in their frenzy by the rubber mallets and honking legbone flutes of the featured musicians. At one side of the room, a group of Fezappareled recording technicians could be seen working diligently on some ancient machinery. Their mission was more than the creation of a mere record; they were trying to read a message in the noise, something they could claim was a communication from beyond the time frame in which we were living, perhaps beyond the confines of the human mind itself. This was, admittedly, a clichéd interpretation, and I readily own to the fact that much depends on the context, the exact time and place of the 'listening' experience: i.e. what you had for breakfast, the state of your romantic relationship, the weather of that moment, even the type of building you happened to be in when your 'listening' took place. If you vary any of these, the music can come to bear new meaning, unfolding new scenarios, before your hungry mind, new highways to the outer boroughs of thought. I listened numerous times. Once I was in an old factory building in Brooklyn, sitting in a Salvation Army easy chair drinking some potent beverage and smoking a corncob pipe. I drifted off, of course, as this was the agenda. I woke up disoriented, with no other sound but what I assumed were rusted factory doors swinging in the wind. Whatever used to be manufactured on this site was long forgotten and the vast empty, oily space had become the playground of poltergeists, Native American poltergeists no less. They had taken over the complex, and like the Sufi technicians mentioned before, they were trying to manipulate some arcane communication devices. They wanted get in touch with their ancestors, who, in my distorted interpretation, were the long-departed factory workers I had so recently felt sympathy for.
    2. It made no sense, but, as I said, such vision is highly contextual, depending on where and when and how you are. For instance, another time, after reading a book about extinction, I threw on the 'redaction' platter and I believed I could discern the plangent cry of dinosaurs, or some other colossal creatures; they seemed to be strapped down on an inspection floor with web belting (the same web belting they use for seat belts). One might assume there was message manipulation in play here, and there was. Information theory and musicianship had conspired and someone, I don't know who, was standing before a screen filled with static. He was turning dials and trying to form a choral arrangement out of the beastly complaints, a sort of a jazz ensemble of reptilian pain. Again, it made no sense. Then it dawned on me: perhaps what I was really feeling all this time was nostalgia for a lost time of creativity and adventure. Nostalgia, as we know, is a marketable emotion and I am not immune. And there is, after all, a greatmeasure of nostalgiathat may be tapped in redaction-it's what you don't know that you think you remember. In one nostalgic instance, I was taken back to my early youth, when like a child Nero, I was beating bongos in my living room while the television, which had burst into flames threatened to engulf our house. I remember enjoying the sight of anchor people, their faces melting, their voices turning into rubbery nonsense. This was before the police arrived. Now, I am not sure if this was a false memory or not. I assume it is.
    3.Another time I let myself drift back to the 80s in Chicago's West Loop and Wicker Park, again a kind of dream existence, humid and dense. It was a time when the very air was so overfull there seemed to be no room, and yet there was always something lurking, speaking from the corners and recesses of the city, a message I was constantly tracking and yet could never find. I vaguely remembered looking in a closet in the back room of some nightclub or other that I frequented. There were three guys, tied up, blindfolded, moaning and writhing on the closet floor. It did not seem an odd sight to me at the time, and I stared for a few minutes before shutting the door. Perhaps it was merely a cancelled act, a redaction in the evening's entertainment menu. Little did I know that the unheard message these men represented would catch up with me; I would actually insist on it. A hesitant plot line seems to shape itself in the heads of the attendees at this ongoing cabaret. (Oh yes, we are all there.) The scriptwriters who might interpret this for us are dead, over bred, or missing any sense of their mythological duty. They adhere mostly to the code of profit after all. But we are not in such a place now. In fact, we don't need them at all now. Or so I say. Indeterminacy is the new certainty. It's what you don't know that breeds community, which is to say, maybe what binds us together here is precisely the inability of any plot to materialize. Thus, waiting in my Salvation Army easy chair for a phone call from some alternate reality where things have meaning, my hand reaches out for that fantasy receiver, but it's just not there. And thank whatever you like for that. The receiver recedes behind the scrim of first endless and then meaningless possibility, and in this manner my alienation becomes its own social networking site and I am joined to the world. It is true, however, that the masters who turn the dials get to determine how much electricity will be delivered to our waiting, blissfully blinded minds, as our thoughts scatter and sizzle like hot drops across our brain pans. And though we may complain of the pain, everybody does love the hot plate in the end. the only game. After all, it's All this reflection brings to mind an old acquaintance back in Indiana. The guy had dozens of TV sets piled in his yard like some hillbilly version of the Palais Ideal. He had figured out a way to plug them all in without blowing the fuses, but there was nothing on, only ghosts. There may be much talk today about the failure of communication and various attempts to render the other side of the screen relevant. (Who's there, what do they want?) But the only relevant answers seem to be broadcast from a time of no meaning, or rather before meaning, a time far in the future, when the human race (whatever that was) had degenerated into nothing but digits, dots, dashes-a kind of graphic electro-babble posing as narrative and floating in space. If we could read their message (which we can't) they would tell us that no one noticed the transition, that nothing needed to be said and nothing was. Today we look back upon our naiveté in bemusement. We know that all communication is pointless. We are finally free to be misunderstood forever, right up to the end. Without it there would be nothing at all.
    Carl Watson, New York, May 2010


    Herausgeber's Info
    Das neue Projekt von Michael Zerang, Kyle Bruckmann und Jim Baker zeichnet sich durch Unberechenbarkeit und Einmaligkeit des klanglichen Strukturen aus. Das Ergebnis findet man auf der Kreuzung von lebendiger Improvisation und ethnischer und elektronischer Musik. Sehr interessant erscheint der Zusammenklang von Schlagzeug- Instrumenten aus Nahen Osten und Nordafrika mit den Pfeifinstrumenten von Kyle Bruckmann, die wiederum eine symbiotische Verbindung zur Elektronik ermöglichen. Das Projekt kann der Strömung der improvisierten Musik zugeordnet werden, mit der die polnischen Zuhörer während des Festivals Musica Genera konfrontiert waren.
    Jim Becker reagiert schnell auf improvisierte Klangstrukturen, er kann mit Meister von synthetischen Instrumentarien wie Thomas Lehn problemlos verglichen werden. Die Bestätigung dafür hört man deutlich in der Komposition fünf.
    Alle Kompositionen unterstreichen den perkussiven Charakter der Musik, auch wenn dichte Rhythmen von Michael Zerang sehr sensibel elektronisch präpariert werden. Diese Vorgehensweise wirkt sehr innovativ - es entsteht ein neuer Kontext sowohl für ethnische als auch elektronische Klangwelten.
    Dank der an die Weltmusik anknüpfenden Narration werden die synthetischen Klangfarben selbst beinahe ethnisch, indem die für diese Ästhetik typische Kühle aufgegeben wird.
    'Psychotic Redaction' ist ein fesselndes Album, das Assoziationen mit Tierstimmen und exotischen Vögeln herbeiführt, die dann in ekstatischen Rhythmen von Schlagzeuginstrumenten ausklingen.

    multikultiproject.blogspot.com
    Nowy projekt Michaela Zeranga, Kyle Bruckmanna oraz Jima Bakera cechuje nieprzewidywalność oraz unikalność brzmienia powstałego dzięki żywiołowej improwizacji muzyki etnicznej i elektronicznej.
    Bardzo interesujące jest współbrzmienie instrumentów perkusyjnych z Bliskiego Wschodu i Afryki Północnej z niespotykanym instrumentarium składającym się z różnorodnych piszczałek Kyle Bruckmanna, które zarazem tworzy 'symbiotyczne' brzmienie z elektroniką.
    Projekt wpisuje się w szeroki nurt muzyki improwizowanej, z którą polscy słuchacze mogli zetknąć się choćby na festiwalu Musica Genera.
    Grę Jima Bakera cechuje szybkość reakcji na powstające dźwięki, w czym dorównuje wirtuozom syntezatora takiej klasy jak chociażby Thomas Lehn. Próbkę solowej gry na elektronice można na płycie usłyszeć w piątej utworze.
    Wszystkie improwizacje podkreślają jej perkusyjny charakter, gdzie soczysta, gęsta rytmika Michaela Zeranga z wielkim wyczuciem preparowana jest przez syczące, szeleszczące, piskliwe, chropowate elektroniczne szumy. Stanowi to połączenie wyjątkowo oryginalne - wykreowany tu został nowy, ożywczy kontekst zarówno dla muzyki etnicznej, jak i elektronicznej.
    Dzięki etnicznej narracji dźwięki syntezatora same stają się wręcz etniczne, zrywając tym samym z ich chłodną naturą.
    'Psychotic Redaction' stanowi zajmującą, wypełnioną dźwiękiem po brzegi muzykę ewokującą skojarzenia z głosami zwierząt i egzotycznych ptaków, które wybrzmiewają w ekstatycznym, hipnotyzującym, wręcz tanecznym rytmie bębnów.
    autorka: Kasia Misiaczyk


    Michael Zerang - perkusista, improwizator i kompozytor. Jeden z czołowych muzyków amerykańskiej sceny jazzowej. Urodził się w 1958 roku w Chicago. Prowadził i współtworzył wiele lokalnych grup: Liof Munimula, The Neutrino Orchestra, Trio Troppo, The Wonderfuls, The Blue Angels, Sam Pappas' Tumbling Strains, Frozen Lucy, The Quirt Quintet, Musica Menta, The Vandermark Quartet, Dream Cheese, The Sputter Ensemble, In Zenith, i Broken Wire . Pracował z najważniejszymi muzykami amerykańskiej i europejskiej sceny jazzowej: Fred Anderson, Mats Gustafsson, Raymond Strid, Sten Sandell, Don Meckley, Jaap Blonk, Daniel Scanlan, Peter Brötzmann, Kent Kessler, Barre Phillips, Jim Baker, Hamid Drake, Ken Vandermark, Luc Hautkamp, czy Fred Lonberg-Holm. Nagrywał dla wielu czołowych wytwórni muzycznych m.in. Okka Disc, boxMEDIA, Kontrans, Southport, Quinnah, Eighth Day Music, Garlic, i Platypus. Gościnnie współpracuje z performerami z School of the Art Institute of Chicago oraz zajmuje się analizą rytmiczną tańca w The Dance Center of Columbia i Northwestern University, a także prowadzi kursy kompozycji w ramach Choreographer Collaborations na Northwestern University, oraz muzyki dla dzieci w The Jane Adams Hull House. Michael Zerang będzie jedną z gwiazd TZADIK POZNAŃ FESTIVAL 2011.


    Jim Baker - znakomity i oryginalny pianista, aktywny na improwizowanej scenie Chicago od ponad dwóch dekad. Studiował na University of Illinois. Oprócz fortepianu, gra także na instrumentach elektronicznych - syntezatorach. W latach 80tych był aktywnym uczestnikiem rodzącej się wtedy nowej, improwizowanej sceny Chicago. W latach 90tych u boku Kena Vandermarka współtworzył zespół Caffeine, z którym koncertował i nagrywał. Był też członkiem sekstetu Vandermarka i jego projektu Witches & Devils, Territory Band. Koncertował z zespołami rockowymi (Tortoise). Jim Baker regularnie grywał na niedzielnych jam sessions w klubie Freda Andersona Velvet Lounge. Wystepował też z takimi artystami jak David Boykin, Nicole Mitchell, Michael Zerang, Rob Mazurek, Guillermo Gregorio, Edward Wilkerson, Josh Abrams, Harrison Bankhead, Hal Russell; Fred Lonberg-Holm; Jeb Bishop; Ajaramu, Hamid Drake, Afifi Phillard, Chad Taylor. Koncertuje z kwartetem Extraordinary Popular Delusions / z Marsem Williamsem - saksofony, Brianem Sandstormem - kontrabas i Stevem Huntem - perkusja/. Dla Delmarku ukazała się jego płyta solowa. Jest improwizatorem obdarzonym niezwykłą wyobraźnią. Brzmienie fortepianu wzbogaca o instrumentarium elektroniczne. Należy do najbardziej szanowanych postaci sceny chicagowskiej. Jim Baker będzie jedną z gwiazd festiwalu MADE IN CHICAGO 2011.

    Kyle Bruckmann - oboista, kompozytor, wszechstronny improwizator. Choć w 1996 roku przeprowadził się z Chicago do San Francisco nadal mocno jest związany z improwizowaną sceną chicagowską. Wystepuje zarówno w składach jazowych jak i reprezentujących muzykę klasyczną. Lista jego współpracowników jest imponująca, wystarczy wymienić: Jim Baker, Fred Lonberg-Holm, Jeb Bishop, Michael Zerang, Guillermo Gregorio, Jack Wright, Scott Rosenberg, Bob Marsh, Olivia Block. Poza USA współpracował z takimi muzykami jak Polwechsel, Bhob Rainey, Greg Kelley, Giuseppe Ielasi, Boris Hauf, Larry Marotta, Matt Ingalls, Ernesto Diaz-Infante, Karen Stackpole, Dan Plonsey, John Shiurba. Znane są jego elektroakustyczne duety z Ernstem Karelem. Jako członek Gene Coleman's Ensemble Noamnesia, wykonywał dzieła wielu kompozytorów współczesnych: George Crumb, John Cage, Charles Ives, Salvatore Sciarrino, Cornelius Cardew, Malcolm Goldstein i wielu innych.

    Avant Jazz / Free Improvisation / Avant-Garde
    Improvised Music Series

    musicians:
    Michael Zerang: drums, percussion
    Kyle Bruckmann: reeds
    Jim Baker: piano, electronics

    tracklist:
    1. Anxious Expectations of Paradise 6:49
    2. We All Sleep Seared in Firey Wire 4:25
    3. Pain Beasts of Collapsing Consumption 3:28
    4. All Our Treasures Turned to Avalanche 4:37
    5. 20,000 Light Year Ping Pong Party 6:27
    6. Strech Marks in Space Time 6:27
    7. No Climax for the Concious Dead 5:32
    8. Bagpiping in the Shattered Vision Ward 4:12


    total time: 42:31
    Recorded at Clave Recording Studios, March 22, 2006 by Todd A. Carter (engineer).
    Mixed at belAir Studios.
    Art, photo, typo and design by Marek Wajda.

    Includes unlimited streaming of Psychotic Redaction via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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composed by Jim Baker, Kyle Bruckmann and Michael Zerang

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from Psychotic Redaction, released August 11, 2011

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Multikulti Project Poznań, Poland

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