OK. I admit it. I'm addicted to the Thirsty Ear Blues Series.
They have taken what I used to think of as electro-acoustic music and given it a new life. The electro portion of the music has been shaded toward electronica. With smatterings of composed sections, ambient quirks, techno and free jazz, the experience is rewarding on many levels (yes, even when my wife gives me 'the look' during the extra-weird parts). The electronic shimmery edge makes recordings like Junk Magic stand out as islands of weirdosity in today's bland musical ocean.
If you're stuck on strict categories, use this one: jazz/electronics. Otherwise, use this: heavy rotation!
Now, for the easy part: lineup. Junk Magic was constructed by pianist/keyboardist/programmer/composer Craig Taborn. He made some fine choices for his side musicians here. Drums by David (The Bad Plus) King, viola madness by Mat Maneri and tenorology by Aaron Stewart (Steve Coleman, Anthony Braxton).
When I listen to more 'out there' forms of music I sometimes wonder what exactly is making it work for me. I admit that I often respond to weirdness for weirdness' sake. Other times it's energy (though I have listened to some so-called "energy music" recordings that have left me flat). What's working here though, is the overall environment...best described as unresolved. That's right. Where lots of music goes about building tension only to find a resolution (and release), Taborn and crew instead create their beauty by the construction of tension.
A few highlights.
The title track begins with a repeated keyboard figure that the viola and sax begin to weave their way around. It's all very pensive and relaxing (well, if you find Philip Glass relaxing). After a fashion a bit of 'morse code percussion' drifts in. I don't know what bit of evil silicon voodoo was used here but it sounds like two ball bearings being clacked together. Ouch. A while later the drums kick in and the tune morphs into what I can only describe as Devo-on-acid-marching-band. This would fit right in on a Tim Burton movie score.
"Mystero". Here's where the cool sound of the sax/viola combo begins to shine. A five chord ostinato defines the song's foundation before the drums come in to tug at and annoy that foundation. The sax and viola begin to play a very Ornette-like (or maybe it's Time Berne-like, I can't decide) melody. This short span of 'normal' is followed by a longer segment of what seem like Prime Time improvisations...all commenting on the foundation chords. Tension builds.
"Shining Through". An almost-ballad. The pretty theme is first stated by a piano/viola duo. Random zots of static add texture (no, there's nothing wrong with your CD player). Gee, this almost sounds normal...maybe like Eno's ambient stuff...but then all of the funhouse music counter-themes edge their way in. It's like a song slowly losing its mind.
"Prismatica". An edgy , lurching electro-jazz raveup. The piano careens around the room, the viola tries to follow without stumbling and the sax makes fun of the proceedings. Don't try to dance to this, you will hurt yourself. Davis King's drums somehow manage to swing and fall on the floor.
"The Golden Age". The final track. All of the elements used by this group are on magnificent and freakish display. It begins with a stately theme presented above a held bass note. My first thought was, hmmm...an outro for a western. Yea, well maybe not. Over the next eleven minutes or so that lone theme is subjected to various methods of aural torture: bent (and nearly broken!) notes, computerized distortions, random beats, little squirty blips, radio signals and industrial noise.
It's disturbing.
It's cool as hell.
(Junk Magic will be release on April 20, 2004. Preorder now to ensure extra tension and texture in your life)
(First posted on Mark Is Cranky)
Article comments