Mysteriously dark electroacoustic improv from the adept trio of John Butcher on acoustic and amplified saxophones, Burkhard Beins on amplified bass drum and electronics, and Mark Wastell on amplified 32" paiste tam-tam, slowly evolving, rich environments in sound.
Catalog ID: ccs 36
Squidco Product Code: 19879
Country: Great Britain
Packaging: CD in a DVD size tin case with three photographic postcards
Recorded live at Cafe Oto, in London, England in April 2014 by James Dunn.
John Butcher-acoustic and amplified saxophones
Burkhard Beins-amplified 28" concert bass drum, electronics
Mark Wastell-amplified 32" paiste tam-tam
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1. Membrane 1 21:24
2. Membrane 2 17:54
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"This marvellous release from Mark Wastell's Confront label documents a meeting of these three heavy hitters convened at Dalston's Cafe Oto, last March. This was the first time all three had played together, although, as John Eyles remarks in his liner notes, they had all worked with each other, before, in outfits such as Powelchsel (Butcher and Beins), The Sealed Knot (Beins and Wastell) and Chris Burn's Ensemble (Wastell and Butcher).
This familiarity, combined with rigour and expertise of their respective improvisational methodologies, means this is a very accomplished set. These guys know what they're doing and so there's no faffing about. They're locked in from the first seconds of Membrane 1, setting up a long, ringing sequence of notes, driven by Wastell's metallic tam-tam murmurs. At first things are slow and sub aqueous, Wastell setting up a liquid sonic field that makes everything like it is taking place at the bottom of a cold, clear ocean.
Butcher comes in sensitively at first, his breathy hisses moving through the shimmer like an eel. At around 11 minutes, he casts forth some simple, abstract phrases, before slipping back into the depths. Beins is even more circumspect and, occasionally, it's tricky to figure out whether the electronic tones and chain-like rattles that occasionally ripple across the surface of this piece are him or one of the other two. There's definitely something going on, however, something creating that sense of textured depth that seems, on the whole, organic but sometimes humming like a vast, dormant machine.
At times, "Membrane 1" approaches the timeless, womb-like states to which late 90s ambient post-rave comedown music aspired, but rarely achieved. There's a heavy strangeness and thickness to the sound, which those ambient gurus missed in their layers of synth and whale song. Mind you if I was listening to this piece in a chill out room at 4am after a night of hedonism, I doubt I would be chilling out - rather the opposite, I suspect.
For "Membrane 2", things are rugged and earthy rather than glistening and watery. Again, the trio sets up a dense sonic ecosystem, Butcher braying atonally at first, his blasts punctuated by, hollow hisses and underpinned by a tempestuous, glowering tam-tam drone. Wastell keeps up the intensity throughout the first half, his fast, rhythmic beats giving things a stormy momentum as Beins comes in with a whole lot of wiry scratches and fuzz, jostling with Butcher's hollow, hostile exhalations.
The second half of Membrane 2 is wiry and metallic, sharp, echoing clangs followed oxy-acetylene hisses, all of which seems to force gasps of pain from Butcher's horn. It feels like we're listening to some mechanical entity under duress, about to fall apart. Yet just as suddenly as it started, it stops, gearing down to something more subdued, a series of churning hums and brassy whispers."-popsmargree, We Need No Swords
• Show Bio for John Butcher's
"John Butcher's work ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and extreme acoustics.Originally a physicist, he left academia in '82, and has since collaborated with hundreds of musicians - Derek Bailey, John Tilbury, John Stevens, The EX, Akio Suzuki, Gerry Hemingway, Polwechsel, Gino Robair, Rhodri Davies, Okkyung Lee, John Edwards, Toshi Nakamura, Paul Lovens, Eddie Prevost, Mark Sanders, Christian Marclay, Otomo Yoshihide, Phil Minton, and Andy Moor - to name a few.
He is well known as a solo performer who attempts to engage with the uniqueness of place. Resonant Spaces is a collection of site-specific performances collected during a tour of unusual locations in Scotland and the Orkney Islands.His first solo album, Thirteen Friendly Numbers, includes compositions for multitracked saxophones, whilst later solo CDs focus on live performance, composition, amplification and saxophone-controlled feedback.
HCMF has twice commissioned him to compose for his own large ensembles. Other commissions include for Elision (Australia), the Rova (USA) & Quasar (Canada) Saxophone Quartets, reconstructed Futurist Intonarumori (USA), "Tarab Cuts" (based on pre-WWII Arabic recordings, and shortlisted for the 2014 British Composer's Award) and "Good Liquor .." for the London Sinfonietta. In 2011 he received a Paul Hamlyn Foundation Award for Artists.
Recent groupings include The Apophonics with Robair and Edwards, Anemone with Peter Evans, Plume with Tony Buck & Magda Mayas and a trio with Okkyung Lee & Mark Sanders.Butcher values playing in occasional encounters - ranging from large groups such as Butch Morris' London Skyscraper and the EX Orkestra, to duo concerts with David Toop, Kevin Drumm, Claudia Binder, Paal Nilssen-Love, Thomas Lehn, Fred Frith, Keiji Haino, Ute Kangeisser, Matthew Shipp and Yuji Takahashi."-John Butcher Website (http://www.johnbutcher.org.uk/Biog.html)
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• Show Bio for Burkhard Beins
"Burkhard Beins, born 1964 in Lower Saxony, lives in Berlin since 1995. As a composer/performer working in the fields of experimental music and sound art he is known for his definitive use of percussion in combination with selected sound objects. Furthermore, he works with live-electronics/analog synthesizers and has conceived several sound installations.
Since the late 1980's he is performing at internationally renowned venues and festivals throughout Europe, America, Australia and Asia as diverse as the LMC Festival (London), Int. Ferienkurse (Darmstadt), SKIF (St. Petersburg), Musiktage (Donaueschingen), Musique Action (Nancy), Choppa Festival (Singapore), Cave 12 (Geneva), The Now now (Sydney), ZKM (Karlsruhe), Kaleidophon (Ulrichsberg), Kid Ailack Music Hall (Tokyo), Gaudeamus Festival (Amsterdam), Liquid Architecture (Australia), Meteo (Mulhouse), Taktlos (CH), Berghain (Berlin), Konfrontationen (Nickelsdorf), Serralves (Porto), Wien Modern (Vienna), MoMA (New York), New Music Festival (Hanoi), Irtijal (Beirut), or Maerzmusik (Berlin).
Alongside his solo work he is a member of the ensembles Polwechsel, Activity Center, The Sealed Knot, Perlonex, Sawt Out, Trio Sowari, Tree, Junk Orbit, Fracture Mechanics, and Splitter Orchester and also works with composers/musicans such as Sven-Åke Johansson, Andrea Neumann, Keith Rowe, Axel Dörner, Tarek Atoui, John Tilbury, or Charlemagne Palestine.
Burkhard Beins gives workshops based on his graphic score system Adapt/Oppose, has published several articles on music theory, and is a co-editor of the book "Echtzeitmusik Berlin - Self-Defining a Scene" as well as the curator of a follow-up 3CD compilation featuring the Berlin Echtzeitmusik scene. Meanwhile he has released more than 50 CDs and LPs on labels like Zarek, Erstwhile, 2:13 Music, Hat Hut, Potlatch, Absinth, alt.vinyl, God Records, Mikroton, or Confront."-Burkhard Beins Website (http://www.burkhardbeins.de/cv.html)
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