Chicago drummer Frank Rosaly in a five track suite of sinister percussion and ambiguous space, using an acoustic drum set, contact microphones, oscillators, effects pedals and analog synths, mining jazz, Afro-Cuban, and non-idiomatic grooves using unconventional techniques.
Label: Utech Records
Catalog ID: URCD092
Squidco Product Code: 21251
Packaging: CD in a 7" record package
Recorded at Kingsize, in Chicago, Illinois in February, 2015 by John Abbey.
Frank Rosaly-percussion, electronics, Kalimba, bowed cymbals, Leslie speaker
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1. Basura 3:47
2. Malo 13:58
3. AK 4:21
4. Te Cuidas Mucho, Miguel 9:37
5. 10HZ 10:30
sample the album:
"Chicago-based drummer Frank Rosaly's solo effort MALO explores the process of free-improvisation with both acoustic and electronically manipulated percussion. Frank has developed a personal and often visceral approach to drumming, whereby gesture is a primary element to the creation of sound. Deliberate motion that may or may not produce sounds often leads to surprising, exiting and raw discoveries, both for the listener and for the performer. Though a large component of the music is created through improvisation, the music is constructed using many compositional concepts such as the Song Form, Minimalist techniques (ala La Monte Young, Steve Reich, Terry Riley), and 'additive' or layering process often heard in modern electronic music. Rosaly also draws inspiration from the likes of percussionists Milford Graves, Paul Lovens and Billy Higgins.
Using contact microphones, oscillators, effects pedals and analog synthesizers along side an acoustic drum set up, Rosaly navigates a wide sonic palette: Afro-Cuban, Jazz and non-idiomatic grooves using unconventional techniques, dense Free-Jazz vocabulary, heavy drones and feedback, as well as soft, subtle percussive language that evokes a varied and large range of color.
"After three years Frank Rosaly returns to Utech Records with Malo, his second full-length release for the label and follow-up to Centering and Displacement. With a sound befitting its title, Malo is a five track suite of sinister percussion and ambiguous space. For this album Rosaly composed distinct, stand-alone pieces, each with their own identity, yet thematically linked by his singular ear for imaginative performance. Aggressive drum assaults, creaking bowed metal, and complex polyrhythms conjure a monolithic wall of sound. Kalimba, drums, and subtle electronics are brewed into a whirlwind of noise; the skittering and disorienting sound of an ancient ritual. Malo is a dense, haunting album from one of the masters of unconventional music."-Utech