James Blood Ulmer and The Thing
"This is not a James Blood Ulmer album. This is not a The Thing Album. If that’s only what you’re after I can highly recommend the magnificent Blood’ album ‘Tales of Captain Black’ from 1979, or The Thing’s ‘BOOT! from 2013. Furthermore, one simply cannot say what James Blood Ulmer is, as far as genres go. Is he jazz? Is he funk? Is he rock or blues? Is he ‘someone-who-took-Jimi-Hendrix-playing-to-the-next-level’? I’m just going to leave it at this: he’s James Blood Ulmer. He’s a living legend as far as breaking boundaries in cross-genre guitar playing goes. - Gustav Lindqvist"
Joe McPhee & Paal Nilssen-Love
""Red Sky comes from folk lore of sailorsill and farmers predicting or forecasting weather. I use it here as a metaphor for looking backward and forward at the saem time, remember the past (lest we be doomed to repeat it) but with an eye to the future. [...]" -Joe McPhee, from the liner notes."
Song for the Big Chief
Joe McPhee & Paal Nilssen-Love
"In the introduction to the concert McPhee made the announcement that tonight’s performance would be in honour to the memory of one the great giants of free music [Sunny Murray]. True to Murray’s spirit this didn’t meaning playing a night of cover tunes, but creating new sounds and pushing the music into the future."
Jojo Hiroshige / Pika / Paal Nilssen-Love / Lasse Marhaug
"The quartet of two drummers, Paal-Nilssen-Love & Pika, and two noise artists, JoJo Hiroshige & Lasse Marhaug, performing live at Osaka Chika-Ikkai for six intense, powerful and informed noise improvisations."
Ken Vandermark & Paal Nilssen-Love
"This is Paal Nilssen-Love and Ken Vandermark's tenth album, and this time the duo have decided to look backwards at the last ten years of their career, although in a very unusual way. In collaboration with producer Lasse Marhaug they have gone through the numerous clips of live performances that exist on YouTube, unofficial documentation recorded and uploaded by members of the audience without the duo’s involvement. None of these clips were full concerts, neither were they recorded on professional gear, often containing artifacts that compresses and distorts the audio. The idea was to embrace the limitations of the format and to make a collage out of the material, but using only the audio and not the video from the recordings. By drawing inspiration from experimental cinema – especially the Structural film movement of directors like Michael Snow, Hollis Frampton and Tony Conrad – Marhaug set a rule of only 60 seconds from each clip should be used, and since the duo does not play short pieces the cuts would often be disruptive, cutting the music off in the middle of movements. The cuts were then assembled together not in a chronological manner, but rather what made sense musically, often jumping back and forth years in the process. The results was that this stylization doesn’t distance the listener from the music, but rather creates a viable document of activity, much in the same manner a film would - just with the screen off."