The Answer Is In The Beat

Christopher Icasiano: Provinces (Origin Records, 2020)

February 29, 2020 at 7:06 pm | Posted in Reviews | Leave a comment

The first solo album from Christopher Icasiano (of Seattle-based jazz group Bad Luck) contains two continuous suites (“Provinces” and “Taho”) related to the complexity of cultural identity as a second generation Filipino-American. The album consists entirely of complex, sometimes frenzied drumming mixed with ambient synths as well as some field recordings from the Philippines. On the first track, which goes for ten minutes, he keeps up a rapid beat which almost sounds like grindcore drumming but isolated from the smothering guitar riffs, but then he twists it into some mind-bending phasing patterns. Then the second track begins with a breakdown, after which the drumming returns, more splintered and broken, and the synths rise up into some triumphant melodies. by the fourth track, drums have been replaced by icy drum machines and the synths are like a gust of frozen wind. Finally, a wistful late-night melody emerges, and then in the last movement the drums return as an explosion of color and feeling. “Taho” begins with some more brain-scrambling rhythmic patterns, but then the second movement is more of a study of experimental drumming techniques, some very outside-the-box stuff. The final movement is where an abstract melody whisks back in, along with more partly electronic drumming. Really creative stuff.

Longmont Potion Castle: 17 (D.U. Records, 2020)

February 27, 2020 at 7:45 pm | Posted in Reviews | Leave a comment

The newest LPC is somewhat of a back-to-basics release: only one disc, little more than an hour, and no bonus content, as far as I can tell. For the most part, it’s his typical “neighbor” scenarios, he calls random people (or not so random, there’s some reoccurring and familiar voices) and asks to borrow something or test something or deliver a package, and when they ask specifics, he dodges the subject and reiterates what he already said or adds some weird effects on his voice. There’s also a lot of patching different lines together on “Complect Calling” (no Trebek this time, though, for obvious reasons), and on this track, LPC almost seems like a conductor, commanding various orchestra members to play their parts while he stays silent. He does add a few twisted piano notes or sound effects, though. “Meat Medley” is simply a series of jump cuts from his various calls to butchers asking for bodily fluids. Probably the most gutbusting moment is when he calls somebody and adopts an exaggerated cowboy accent, calls himself Trent Tripp, and plays this utterly ridiculous “song” filled with rapidfire vocals that sound like chipmunks speaking in tongues. The runner up is “Netiquette”, a long sequence where he keeps rattling off jargon to someone at a company called System Solutions. After a while she keeps asking “are you a computer?”, and he typically keeps avoiding the question, which is just as ridiculous as anything he’s saying. He also calls someone claiming to be a massage therapist, but says that he plays saxophone during his sessions (the way he pronounces “saxophonist” is priceless), and adds some of his cheap MIDI saxophone playing in there. Not a fan of the track where he repeatedly calls a Motel 6 and asks them to patch him into this one woman’s room, though, that’s legit creepy.

Dr. Pete Larson and his Cytotoxic Nyatiti Band: Misiginebig LP (Dagoretti Records, 2019)

February 23, 2020 at 12:25 pm | Posted in Reviews | Leave a comment

The latest LP from nyatitist Dr. Pete Larson boils down two recent live gigs onto one side each. The first side was recorded at Trinosophes with percussionist Mike List and guitarist Fred Thomas, and it’s one long jam depicting Misiginebig (an underwater horned serpent) fighting its sworn enemy, the Thunderbirds. It’s almost like peaceful battle music: furious and persistent, but it’s very meditative, and it seems more about bringing light and positivity than causing bloodshed. The second side was recorded at Outer Limits Lounge with Shells on guitar and Tom Hohmann on drums. This one has four shorter songs, but they all similarly feel like a continuous outpouring of energy, with a web of nyatiti melodies atop steady but complex rhythms. “Abiro” has some ecstatic shouting in it, and “We have come too far” seems to sort of straighten out into more of a galloping rock rhythm, then “To all our friends and the Snakes” is a quieter breakdown which slowly builds back up.

Hollan Holmes: Milestones (Spotted Peccary, 2020)

February 20, 2020 at 8:41 pm | Posted in Reviews | 1 Comment

Hollan Holmes’ first Spotted Peccary release is an excellent set of post-Berlin School, sequencer-driven space music. Most of these ten of these tracks surge forward, cruising deep into the stratosphere without idling for a moment. This is not merely pretty background music or zoned-out droning, there feels like a definite purpose to all of this, and even though it might not be as bombastic or ornately arranged as an opera or a neo-classical metal record, there’s a comparable level of passion here. “One Giant Leap” points to the desire to explore new terrain, using a familiar Neil Armstrong sample. “The Truth Laid Bare” almost sounds like a Mike Paradinas melody, but filled with heartache, and minus the crazy beats. “Slipstream” is a bit more of a relaxed drift, it definitely feels like an easing up compared to other tracks. “West Texas Backroads” feels like you’re driving along said roads and only following the stars to guide you — you have no clue where you’re going to end up in the morning. “Bulletproof” is where things start getting a bit dramatic, and even quite sorrowful. “Inner Sanctum” starts out cold and mechanical but quickly melts away, sinking deeper as the heart cries out louder. “Ayyappan” is where it all winds down, looking back on all that’s passed and putting serious consideration into what’s left to be done.

Suumhow: Secuund (n5MD, 2019)

February 9, 2020 at 12:55 pm | Posted in Reviews | Leave a comment

Suumhow wasted no time putting out a follow-up to their startling 2018 debut. This isn’t all that different — it’s more IDM with abrasive, crunchy beats and reflections-on-a-pond melodies — but it’s just as excellent. It moves from harsh, scattered blasts like “Muuscl” and “56” to more straightforward, pattern-heavy rhythms like “Bora Bora”, and several tracks have jumbled, subliminal voices underneath. “Cabin” is prime winter hideaway music. Really, all of this is a good soundtrack for snowbound seclusion.