Saturday, December 13, 2008
Richard Kamerman - The Passing of Mr. Good (RAR)
New minidisc (I can't find any mention of it on-line yet; Richard?) by half of Tandem Electrics and a very nice one. Three "miniatures" in the sens of attention to small detail. On the first, the debt to Taku Unami is clear, all chattering, metallic sounds that have that same loose yet mechanical aspect. Lovely to listen to though; the listener shares Kamerman's evident fascination with the sounds. The last is a wisp-like evocation that has fine staying power. Where can people get this, RK?
Alfredo Costa Monteiro - centre of mass (Another Timbre)
There are musicians whose conception I simply enjoy, finding almost anything they do to be imbued by it. Costa Monteiro is one. This often harsh dronescape, lasting a bit over 30 minutes, was created by agitating one or more cymbals on various resonating surfaces. Simply enough idea, focusing in on a "small" area, discovering all the largeness there, finely executed. As with the Kamerman, one is initially fascinated by the sounds themselves; later, their placement, opposition and sequencing impresses greatly. Good stuff.
Sebastian Lexer/Seymour Wright - blasen (Another Timbre)
The first of the two tracks here is one of the strongest things I've heard in while. Lexer has something of Tilbury in his playing--not the obvious (no redolence of Feldman, particularly) but a similar sense of tone, touch and placement, of managing to get the best of each in one keystroke, a rare enough achievement. Wright melds beautifully here; one often forgets entirely the instruments at hand and just experiences the music, which is remarkably cohesive and, for all its spareness, full and tactile. Beautiful work. The second piece is pretty good as well, a bit more diffuse, a little less gripping.
Interesting that the two another timbre releases, to an extent, embody two of the principal areas in eai that seem to differentiate listeners, some greatly preferring one to the other. There's post-AMM improv as in the Lexer/Wright and solo "process" oriented music (which generally also involves improvising, though obviously without the input of another individual) as seen in the Costa Monteiro. I have no problem with either (or with what might be thought a third strand: field recordings with manipulation and enhancement as heard, most recently by me, on two fine Richard Garet releases that I'll write up soon), though to an extent I can imagine that what has the most potential for getting my neurons to fire increased amounts of dopamine is the first listed. Might try to parse out the why's of this...