San Francisco' Jacob Heule (known for his work with Ettrick & Barn Owl) and Tony Dryer join Euro improvisers Havard Skaset and Guro Skumsnes Moe for seven free improvisations using extended techniques and unusual approaches to their instruments.
Black Friday / Blue Squid Sale!:
Shipping Weight: 1.00 units
Quantity in Basket: None
Log In to use our Wish List
Label: Bug Incision Records
Catalog ID: bim-54
Squidco Product Code: 16319
Packaging: Paper foldover in a plastic sleeve
Recorded by Havard Skaset and Jacob Felix Heule.
Guro Skumsnes Moe-doublebass
Jacob Felix Heule-percussion
Click an artist name above to see in-stock items for that artist.
Highlight an instrument above
and click here to Search for albums with that instrument.
• Show Bio for Jacob Felix Heule
"Jacob Felix Heule is a percussionist and electronic musician focused on sound-oriented improvisation following the traditions of electro-acoustic improv, noise, and 20th-century composition. His playing embraces both rough-edged intensity and disciplined instrumental technique."-Bay Improviser (https://www.bayimproviser.com/EventView.aspx?e=10105)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Jacob Felix Heule
1. arkb 4:13
2. bkra 3:19
3. brak 2:51
4. rabk 4:22
5. krab 3:07
6. rakb 2:49
7. abrk 16:43
sample the album:
"Bug Incision is proud to be continuing our relationship with the San Francisco tag team of Jacob Heule (also known for his work with Ettrick and Barn Owl) and Tony Dryer. Earlier on in the Bug Incision game, we had the good fortune of releasing these two in conjunction with Jack Wright (bim-14), and also as part of a larger midwest-based ensemble called Storm of Corpses (bim-13).
Heule and Dryer have also maintained their own duo called Basshaters, and have a disc on Creative Sources from their trio with Jacob Lindsay. Over the years, they've managed to get themselves over to Europe a couple times, which is presumably where they hooked up with Håvard and Guro, two musicians who seem to have quite successfully overhauled their instruments' basic sonic identities.
It's kind of interesting how, for the most part, the melodic and harmonic activity in these pieces come from the basses (always a good instrument in plural, proven here), while the guitar seems to be content to exist as a sounding unit for all manner of physical manglings. The six-stringed playing on this record is in fact quite winning, coming across as a mixture of Christian Munthe's guitar anti-heroics (if you don't know him, do yourself a favour and look him up) and what Roger Smith might've sounded like if he'd forsaken his beloved nylon-string for a steel counterpart.
But back to the basses: while a lot of free-improvising double bassists automatically reach for upper end of their instrument's register, these two both share a fairly uncommon inclination towards the lower region of things. The reason that this is remarkable in a group context is that it means that our guitar and percussion overseers are exercising a wonderous amount of control, sensitivity, and a finely honed dynamic undertanding in order to make this work, not only in terms of a listener being able to hear everything, but also in their own abilities to communicate and react in the moment.
Jacob's effectiveness as a purveyor of avant-leaning percussive stylings is often evidenced in the frequent moments when it is a) not clear that there is a percussionist present at all, and b) very often it becomes very difficult indeed to make out who's doing what. As far and wide as Bug Incision has happily moved within the realm of improvised music, this is the kind of stuff we started out with, and continue to dig, wholeheartedly."-Bug Incision
West Coast/Pacific US Jazz
European Improv, Free Jazz & Related
Search for other titles on the Bug Incision Records label.