Revolution Before Lunch
Thomas Johansson / Oyvind Storesund / Paal Nilssen-Love
"The rhythm section of Nilssen-Love and Storesund keeps him on his toes, forcing him to adjust his ideas into the urgent, propulsive rhythm section that keeps shifting its rhythmic dynamics. Nilssen-Love and Storesund sound as a telepathic, inseparable unit, but wisely leaving enough space for Johanssen to deliver his commanding solos."
Roadwork 1 / Roadwork 2 / Homework 1 (3CD Box Set)
"Where Wired for Sound felt fresh, youthful and surprising in so many aspects, this triple live album is a spectacular snapshot of how this group has progressed together – and is progressing together… On ‘Accordéon’ they are staring down the abyss just like Mats Gustafsson’s Fire, combining a very heavy pulsating groove with fiery improvisation. Another emotion which must be balanced perfectly to not become a cliché, but they pull it off perfectly! On ‘French Dress’ I think Sudderberg brings his performance up at least one level, again together with the band and on ‘B Eiga’ the group performance is fantastically tight. The album ends but I want more! “ - Gustav Lundqvist Free Jazz Blog *****"
"In March of 2018, during guitarist Joe Morris’ stay in Calgary (see bim-75 notes for the full story), he joined the Chris Dadge/Jonathon Wilcke duo on two occasions. The first was a live performance at a tiny and packed room in the Theatre Junction GRAND building in the heart of downtown Calgary. After a stellar set from Laura Reid and Mark Limacher, Morris played a short solo set, Dadge and Wilcke played a short duo set, then the latter three played as a trio; it was their first time playing together. Later that month, the three reconvened in Dadge’s basement studio, fueled by Richard Youngs’ vegetable curry, for this sparkling burst of playing. A relative minority of Bug Incision releases are studio-based affairs, but the added clarity and sonic precision on display here greatly benefits this music, which is chock of full of dense, pointillistic playing. Wilcke’s sax work moves from fluffy free-bop melodicism to strangulated smears of sound, bringing out some inventive comping moves from Morris. Morris strikes an impressive balance between Wilcke’s saxophonic abstractions and the kinetic, tactile playing of Dadge, who is clearly relishing the opportunity to interact with such a spiky playing partner. Bug Incision could not be more pleased to present (along with bim-75) this second fine document of Morris’ Calgary saga. (Notes by Benoit Hughes) "
Ken Vandermark & Terrie Ex
"SHIPPING NOW! "...Terrie was already bouncing towards Vandermark with a drumstick and too much energy that he needed to get rid of urgently. It was only a matter of seconds before the two gave their all, in that strange combination of seemingly incompatible tactics that somehow fit together. The rhythmic accents of Vandermark were razor-sharp and turbulent, and were executed with the same crackling energy that Hessels treated the strings with. The interaction was jumpy, constantly on the move, with a strong dash of humor (especially by an unleashed Hessels, who treated his guitar and the stage with a hammer (!)), but also an instinctive one; interaction that, despite enormous freedom, also led to a set that was as short as it was consistent.” (Guy Peters). "
DKV Trio + Gustafsson / Nilssen-Love / Pupillo
"DKV is one of the tightest free-improvisation units you can imagine due to the use of written material on which they improvise extensively. It’s especially Hamid Drake’s rhythmic pulse – ranging from funky elegant grooves to free wildfire – that provides the fundamentals of this group. It’s almost a shock when “This Building is on Fire”, the first track, abruptly ends and Gustafsson, Pupillo and Nilssen-Love step into the arena, as if they were burying DKV under their wall of noise. If you listen closely however, you realize that both trios complement each other excellently. Nilssen-Love shows his wild and expressive side but Drake is a much too experienced and great a drummer to drown in this torrent. He sticks to his style, and the result is a highly energetic combination that also grooves like hell. - Martin Schray and Colin Green "Free Jazz Blog""
Paal Nilssen-Love & Håkon Kornstad
"This set recaptures the remarkable balance of order and freedom those 2002 gigs delivered, and is the third in a series of duos featuring Nilssen-Love. His solo percussion excursions are constantly absorbing and the singing sound of Kornstad springs vividly off the drum-patterns and feeds back new directions in turn. It's pretty much all uncompromising free-improv, though the final track (Arched Shape), has a more traditional jazz feel in Kornstad's fluently bucolic tenor sound worrying at something near a regular tune. The session often resembles an Evan Parker set. Like the Dutch drummer Han Bennink, Nilssen-Love is a free player who never loses swing. Jazz improv of a very high order."
Scrabbling At The Lock
The Ex + Tom Cora
"Judging from this album, it was a stroke of genius to match Tom Cora's earthy, aggressive cello with the bludgeoning force of The Ex at full throttle."
"You're thinking of The Ex and "the right to piss and shit in different colours"... Their music is dense and down-the-line, distantly allusive, subtle, grainy, open, full and proudly, alertly dissident."
"An intensely moving soundtrack for our times. "Scrabbling" has blood, sweat, tears and the sweetest sounding cello money can buy."
Paal Nilssen-Love & Ken Vandermark
"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."
Ikue Mori & Maja S.K. Ratkje
"A recording of live performances which brought together two essential figures of the contemporary scene: an oustanding Norwegian composer and vocal artist Maja S.K. Ratkje and a celebrated improviser and composer, former DNA drummer, Ikue Mori. The common sound territory, created together by Mori and Ratkje, balances between quietly growing tension and powerful outbursts of unrestrained, relentless noise. Within this harmony, Ratkje takes adventurous excursions towards the borders and unknown facets of sound, using treated voice as well as an acoustic and electronic workshop, while Mori's thoughtful laptop provides a strong frame and a sense of deep focus. In these carefully crafted, long and nuanced compositions, both artists maneuver between meditative, ritual areas and irregular, elusive noise blots. The most astonishing element of this superb performance is the realization that even though the compositions are entirely intuitive, created without any previous planning, guidelines or negotations, the listener can sense a nearly palpable sense of deep connection and understanding between the artists. Their knowledge and keen, immediate communication create an invisible harness, which naturally directs the stream of improvisation. This engaging, exhaustive listen is a contemplative retreat and a daring, dizzying somersault at once'. Olga Drenda"
""This unconventional trio features Norwegians Paal Nilssen-Love (drums) and Lasse Marhaug (electronics), inceptive members of Vandermark's Powerhouse Sound. Exploring similar territory, Fire Room ventures further into the extremes of brutal cacophony and disquieting stillness.""
The Rempis/Daisy Duo
"Dave Rempis and Tim Daisy are two musicians whose work has helped to define an entire generation of Chicago improvisers. Having performed together since they both hit the Chicago scene in the fall of 1997, these two have joined forces on hundreds of performances and dozens of recordings with notable groups including Triage, The Engines, The Rempis Percussion Quartet, The Vandermark Five, and countless other ad hoc groupings. Their duo pairing has a similarly long history whose roots date back to the countless all-day/all-night workshop sessions that Daisy hosted in his garage practice space in the late 90’s, where these two rolled up their sleeves together for the first time, laying the foundation for a lengthy and fruitful set of collaborations. On this recording, a follow-up to their 2005 release “Back To The Circle” on the Okkadisk imprint, the two capitalize on these deep roots to produce an almost telepathic interaction in their improvisations. Never willing to settle into comfortable territory though, the two continue to push each other into new sonic realms, repeatedly pulling the carpet out from one another as the ground becomes too firm under foot."