Recent Reviews:
Bondi / Martel / Schiller:
tse
(Another Timbre)
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Jakob Ullmann:
Muntzers stern solo II
(Edition Rz)
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Martin Kuchen / Ed Pettersen / Roger Turner:
The End Of The Universe
(Split Rock Records)
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Joe McPhee:
The Willisau Concert
(Corbett vs. Dempsey)
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Jacob Sacks:
Fishes
(Clean Feed)
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Angelica Castello / Jerome Noetinger:
Disturbio
(Mikroton Recordings)
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Chester Hawkins:
Magnetisk Nord
(Intangible Arts)
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Jerome Noetinger & SEC_:
La Cave Des Etendards
(Mikroton)
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Scarassatti / Rodrigues / Rodrigues / Torres:
Amoa Hi
(Creative Sources)
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Henry Threadgill 14 or 15 Kestra: AGG:
Dirt...and More Dirt
(Pi Recordings)
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Squidco Sales
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Op-Ed
(Opinions and Editorials)
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March 18, 2019:
If it seemed quiet at Squidco last week, the truth was that it was anything but quiet, as we planned out our major purchases for the spring. We still have a couple of other big purchases to work out, Not Two, Pi Recordings, PNL, and Audiographic Records, and Clean Feed/Shhpuma being the last pieces of the puzzle that we expect to resolve this week. Most of the our other acquisitions are complete and a large number of purchases were placed last week. A couple of them arrived today and should start showing up on the store midweek, while the rest will be arriving over the next 1 to 4 weeks. We're very excited about the lineup for the spring, which I've listed below. You can use our Upcoming Releases Page to ask us to email you when each album is available.
Carlo Costa: Oblio (Neither/Nor)
Costa / Nazary: Dim Thickets [ CASSETTE] (Neither/Nor)
Chadbourne, Eugene: Invitation To A Jam Session (Chadula)
Chadbourne, Eugene: Invitation To A Jam Session [CASSETTE] (Chadula)
Chadbourne, Eugene with Son of Shockabilly: Unreal Band (Chadula)
Chadbourne, Eugene: The Banshee (Chadula)
Gil Sanson / Lance Austin Olsen: Works on Paper [2 CDs] (elsewhere)
Michael Pisaro: Nature Denatured and Found Again [5 CD Box Set] (Gravity Wave)
Boneshaker (Williams / Nilssen-Love / Kessler): Fake Music (Soul What Records)
Neuköllner Modelle: Zyklus (Umlaut)
Hannes Lingens: Pieces for Percussion (Umlaut)
Ruhl, Joris: Toile, Etoiles (UMFR-CD28) (Umlaut)
Musaeum Clausum: Musaeum Clausum (umfr-cd23) (Umlaut)
Roscoe Mitchell Orchestra: Littlefield Concert Hall Mills College [VINYL] (Wide Hive)
Matthew Shipp Trio & Nicole Mitchell: All Things Are (RogueArt)
Lang, Klaus / Golden Fur : Beissel (Another Timbre)
Davies, Angharad / Rie Nakajima / Alice Purton: Dethick (Another Timbre)
Eastman, Julius / Apartment House: Femenine (Another Timbre)
Granberg, Magnus / Skogen: Nun, es wird nicht weit mehr gehn (Another Timbre)
Winged (Courvoisier / Davis / Taborn / Marsella / Ortiz / Coleman): Six Encomiums For Cecil Taylor ( Tzadik)
Wooley, Nate: Columbia Icefield (Northern Spy)
Cleric (John Zorn - Masada Book 3): The Book Beri'ah Vol 2-Chokhma (Tzadik)
Laubrock, Ingrid (w/ Halvorson / Davis / Wooley): Contemporary Chaos Practices - Two Works For Orchestra With Soloists (Intakt)
Hawkins, Alexander : Iron Into Wind (Intakt)
Fred Frith: All Is Always Now - Live at the Stone [3 CDs] (Intakt)
Crump, Laubrock, & Smythe: Channels (Intakt)
In the Sea (Tristan Honsinger / Nicolas Caloia / Joshua Zubot): Forks and Spoons (Creative Sources)
Rodrigues, Ernesto: Utez Hekaezi (Creative Sources)
Sama, Hernan / Pablo Vazquez: EL NOMBRE DEL RITUAL (Creative Sources)
Bramnk, Frank / Guenola Fatout: Diez Seiz (Creative Sources)
Vort4: Stroming (Creative Sources)
Dyberg, Mia / Elo Masing / Ernesto Rodrigues / Guilherme Rodrigues / Tomo Jacobson: Egin (Creative Sources)
de Heney, Nina / Karin Johansson / Henrik Wartel: Quagmire (Creative Sources)
Rodrigues, Ernesto / Abdul Moimeme / Antez: Magma (Creative Sources)
Rowland´s Evil Jazz Trio (Galewicz / Sandstad Dalen / Nordberg Funderud): Death Machine (Creative Sources)
Besalduch, Ferran / Riuichi Daijo: Cumulonimbus (Creative Sources)
ZYFT (Ziv Taubenfeld / Henk Zwerver / Maya Felixbrodt): Midnight Tea Suite (Creative Sources)
Brennan, Patrick / Abdul Moimeme: Terraphonia (Creative Sources)
NOI TREI (Gestalder / Marion / Becheanu): 3 vues d'un paysage / 3 views of a landscape (Creative Sources)
Cajlan / Wissel / Nillesen: fourtyfour fiftythree (Creative Sources)
Wassermann, Blonk & Vorfeld: Improvisors (Kontrans)
King Champion Sounds/Surplus 1980 (Moe! Staino): Split [7" VINYL] (Moe! Staiano/)
Stefan Roigk: Suffering For The Promised [VINYL] (Fragment Factory)
Christina Kubisch: Schall und Klang (Fragment Factory)
Anne Guthrie And Seymour Wright: Chelsea Bridge (Winds Measure/Wind Measure Recordings)
Ben Owen: Turning (Winds Measure/Wind Measure Recordings)
Sista Maj (Segel / Tuominin / Axelsson / Wiberg): Localized Pockets of Negative Entropy [VINYL] (Adansonia)
Daniel Carter, Watson Jennison, William Parker, Federico Ughi: Live! Volume 1: Erie [VINYL] (577 Records)
Federico Ughi feat. Rachel Musson: Transoceanico [VINYL] (577 Records)
Fujii, Satoko: Stone (solo) (Libra)
Tamura / Yoshino: Kaikou (Libra)
Ullmann, Jakob : Erscheint in Kurze (Edition Rz)
Ercetin, Turgut (Ensemble Mosaik, Ensemble Apparat, Ensemble Adapter, Sonar Quartett): Panopticon Specularities (Edition Rz)
Common Objects (Davies / Butcher / Davies / Lapelyte / Patterson / Thomas): Skullmarks Meena
Minami Saeki / Wakana Ikeda / Yoko Ikeda / Taku Sugimoto / Stefan Thut / Manfred Werder: Sextet Meena
Sugimoto, Taku / Minami Saeki: Songs [2 CDs] Ftarri
Toshimaru Nakamura / Ken Ikeda / Tomoyoshi Date: Ink on Paper Meena
Yasumune Morishige / Yoko Ikeda / Takashi Masubuchi: Shade Meena
TGB: Tuba, Guitarra & Bateria (Clean Feed)
Guillotine (Lopes / Ceccaldi / Wildhagen) (Clean Feed)
The Fictive Five (Ochs / Wooley / Filiano / Niggenkemper / Eisenstadt): Anything Is Possible (Clean Feed)
Matthias Spillmann Trio (Spillmann / Lang / Baumgartner): Live At The Bird's Eye Jazz Club (Clean Feed)
Spring Roll (Helary / Mayot / Rayon / Lemetre / Davis): Episodes (Clean Feed)
The Selva (Jacinto / Almeida / Morao): Canicula Rosa (Clean Feed)
Carlos Bica / Daniel Erdmann / Dj Illvibe: I Am The Escapade One (Clean Feed)
Luis Vicente / Vasco Trilla: A Brighter Side Of Darkness (Clean Feed)
Nicola L. Hein: The Oxymothastic Objectar (Shhpuma)
Oli Steidle & The Killing Popes (Steidle / Mobus / Nicholls / Downes / Donkin): Ego Pills (Shhpuma)
Oli Steidle & The Killing Popes (Steidle / Mobus / Nicholls / Downes / Donkin): Ego Pills [VINYL] (Shhpuma)
NAO (Vaz / Silva / Marques): Arcana (Shhpuma)
Yow!
March 8, 2019:
The last two weeks have seen us slowly but surely catching up with an overwhelming number of new releases that spilled over the brim of our workday. At one point we had more than 60 new releases awaiting final cataloging. Consequently we slowed the rate of purchases a bit to allow us to catch up, and we've now got us ourselves to a very reasonable number of 20 items awaiting cataloging. As with most cycles, the lull won't last, and we've already received a box of Confront CDs that will show up on the store next week, including the excellent new box set from Mark Wastell's The Seen concert series.
This week saw the arrival of a significant release from Anthony Braxton - GTM (Syntax) 2017, a 12 CD Box Set of vocal music that blurs the line between composition and improvisation, performed by his 12-member Tri-Centric Vocal Ensemble. The system Braxton has developed is known as Ghost Trance Music (GTM), and the pieces he's written that specifically use the human voice are referred to as Syntactical Ghost Trance Music.
In a Sound American article by Erica Dicker, an overview of GTM is provided:
"One of the most straightforward contexts in which to examine Braxton's process of unification is the Ghost Trance Music series, a set of roughly 150 pieces written between 1995 and 2006. Ghost Trance Music (or GTM) describes compositions specifically designed to function as pathways between Braxton's various musical systems. One can think of GTM as a musical super-highway - a META-ROAD - designed to put the player in the driver's seat, drawing his or her intentions into the navigation of the performance, determining the structure of the performance itself.
At the heart of Braxton's work is an emphasis on interpretation over execution, a feature designed to empower performers to trust their intuition. He achieves this balance through the provision of highly detailed parameters first defined in music written in the 1980s for his long-standing quartet featuring Marilyn Crispell, Mark Dresser, and Gerry Hemingway. In this context, Braxton conducted experiments using various collage techniques, particularly the synthesis of through-composed melodic lines and other written pieces, as well as areas of controlled improvisation. This afforded the ensemble opportunities to carve the structure of given performances while the musical material retained its integrity.
To make the experience repeatable yet variable, Braxton devised graphic pieces called "pulse tracks" -scores that are "to be played concurrently with other compositions"6 (see Example 0). Dresser or Hemingway were typically given pulse track scores and would play them, while Crispell and Braxton played notated material or improvised.7 Pulse tracks, such as Composition No.108-B, are read by the musicians "fairly literally... [adhering] to the time lapses that were happening." Hemingway would interpret these pulse track scores as either "velocity diagrams" or "dynamic diagrams." Thanks to such notational devices, Crispell, Dresser, Hemmingway, and Braxton were able to depart from and return to particular compositions, "explore fresh kinds of improvisation and interplay," and stay unified as an ensemble.
Braxton's inspiration for GTM came through his study of Native American musics, particularly the traditions tied to a post-colonial ritual called the Ghost Dance. The Ghost Dance spread throughout Native American communities in the late 19th- and early 20th centuries as both a spiritual practice and a movement seeking social justice. Surviving members of various displaced Native American tribes would come together and perform transcendental circle-dances, or ghost dances, in which the living attempted to communicate with their deceased ancestors. These ceremonies often lasted hours or days and helped disparate tribes establish larger communities as well as preserve the customs remaining to them.
The Ghost Dance provided Braxton with a vital structural model and affirmed his own ideas regarding human interconnection and ritual practices. GTM emulates the ceremonial and social aspects of the Ghost Dance and serves two purposes. The first is transcendental: GTM parts the curtain between Braxton's past and current work, unifying it in the same "time-space." GTM is also an arena in which Braxton helps curate intuitive experiences for both performers and listeners."
The explanation Braxton house provides with this new album is presented with the liner notes:
"However, SGTM eschews the narrative logics of the operas, instead offering intricate and rhythmically complex written lines with syllables, numbers and words, sometimes sounding like a string of activation codes, sometimes like an alternate language. The performers have an infinite number of real-time choices to make within each composition. From the pulse-driven first species to the graphically-enhanced accelerator class, SGTM and the Tri-Centric Vocal Ensemble demonstrate new possibilities for vocal choir music where composition meets improvisation, ensemble members become conductors, and the line between sounds and singing blur to form a sonic tapestry of voices unlike any other. "
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