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Fluke-Mogul / Liberatore / Mattrey / Mendoza : Death In the Gilded Age [CASSETTE w/ DOWNLOAD (Tripticks Tapes)

Brought together by violinist Joanna Mattrey during the dark period of COVID lockdown, four NY free improvisers (Gabby Fluke on Mogul on violin, Matteo Liberatore on acoustic guitar, Joanna Mattrey on viola and Ava Mendoza on electric guitar) explore the implications of the pandemic through separation, loss and new life in 10 succinct and dynamic explorations.

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product information:

Label: Tripticks Tapes
Catalog ID: TTT008
Squidco Product Code: 31085

Condition: New
Released: 2021
Country: USA
Packaging: Cassette
Recorded in upstate New York, in February, 2021, by Nathaniel Morgan.


Gabby Fluke-Mogul-violin

Matteo Liberatore-acoustic guitar

Joanna Mattrey-viola

Ava Mendoza-electric guitar

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Artist Biographies:

"Gabby Fluke-Mogul (b. 1991) is an improviser/composer living in New York.

They exist within the threads of improvisation, the jazz continuum, noise, & experimental music.

Their playing has been described as "embodied, visceral, & virtuosic."

Gabby is humbled to have collaborated with Kyle Bruckmann, Nava Dunkelman, Wendy Eisenberg, Fred Frith, Jordan Glenn, Phillip Greenlief, Jacob Felix Heule, Brandon Lopez, Lisa Mezzacappa, Kanoko Nishi-Smith, Pauline Oliveros, & Danishta Rivero, among many other musicians, poets, dancers, & visual artists.

GFM holds a MFA in Music Performance & Literature from Mills College, a BA in Music & Education from Hampshire College, & a Deep Listening certificate from The Center for Deep Listening at Rensselaer."

-"Gabby Fluke-Mogul Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Matteo Liberatore is a boundary-pushing guitarist and composer working at the intersection of free, contemporary classical, electronic, and noise music. Based in Brooklyn, Liberatore spent much of his life in the medieval region of Abruzzo, Italy, amidst dramatic landscapes reflected in a playing and composing style of "unsettling beauty" and "striking physicality" (The New York City Jazz Record).

Matteo is known for his nuanced treatment of timbre, texture, gestures, and rhythms, and his work aims to convey precise musical ideas--whether through the elegant immediacy of unadorned instrumentation or the affecting dislocations of electronics and preparations. The latter approach can be heard in his first solo album--aptly titled Solos--released on Innova Recordings in 2018: "This is not just sonic novelty or gratuitous use of extended techniques; each of the pieces, while largely improvised, [has] clarity and purpose" (Avant Music News). Solos was included in Ted Gioia's best albums of 2018.

An active member of New York's improv scene, Liberatore has performed with Ralph Alessi, Elliott Sharp, Tony Malaby, Ingrid Laubrock, Jon Irabagon, Tom Rainey, Nina Dante, Brian Chase, Andrea Parkins, Ava Mendoza, Amirtha Kidambi, Sandy Ewen, Weasel Walter, Joanna Mattrey, Brandon Lopez, Carlo Costa, and Michael Foster. Liberatore also partners with performance artists and dancers such as Dia Dearstyne and Rachel Mckinstry.

In his formative years Liberatore studied classical guitar under Maestro Marco Salcito at Conservatorio di Foggia; obtained his M.M. in Jazz Performance at NYU, working with Jean-Michael Pilc, Wayne Krantz, and Peter Bernstein; and toured the U.S. and Europe in art-rock and electropop projects such as Una Lux, with a debut EP produced by former Sonic Youth producer Nick Sansano and reviewed favorably by NPR, WNYC, and Magnum Magazine."

-Matteo Liberatore Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Joanna Mattrey, violist, sound artist.

Joanna Mattrey is a violist active in both the new music and free improvisation communities who's playing often incorporates textural gestures, preparations, and electronic alterations. She is searching for moments of ceremony and ritual in a modern soundscape.

Mattrey has played with such luminaries as Marc Ribot and the Young Philadelphians, Mary Halvorson, John Zorn, Erik Friedlander, Nick Dunston and others among New York City's Downtown scene.

Her projects are incorporative of many styles which have brought her to various venues including the Whitney Museum, the Rubin Museum, MoMa's PS1, Carnegie Hall, Roulette, Boston's MFA, The Stone, Joe's Pub, LPR, and has played at SxSW, the Newport Jazz Festival, and the NYC Winter Jazz Fest.

Mattrey has commissioned solo pieces from Nick Dunston (Vijay Iyar), Weasel Walter (Lydia Lunch), Lucie Vitkova and more to bring her improvising sensibilities to the new music world."

-Joanna Mattrey Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"My name is Ava Mendoza. I play guitars and stompboxes and write music. Currently I'm based out of Brooklyn, NY. I have played guitar for most of my life and been active for the last decade playing my own music and in many different groups. In any context I try to bring expressivity, energy and a wide sonic range to the music I play. I've toured throughout the U.S. and Europe and recorded or performed with a broad spectrum of musicians including singer Carla Bozulich (The Geraldine Fibbers, Evangelista), Fred Frith (Massacre, Henry Cow, Art Bears), Nels Cline, Jamaaladeen Tacuma, Weasel Walter, Tune-Yards, and more. I've played on recordings released by labels Weird Forest, Tzadik, Clean Feed, NotTwo, ugEXPLODE, Resipiscent, New Atlantis, and others.

Friendly critics have called me "Oakland's avant-jazz virtuoso" (Brad Cohan, Village Voice), "a versatile and virtuosic guitarist" (The San Francisco Film Society), "a wizard on a semi-circle of effects pedals, but… equally adept with FX-less technique," (Lars Gotrich, A Blog Supreme/NPR Jazz). I was recently named one of Guitar World‘s “10 Female Guitarists You Should Know”.

My main project these days is UNNATURAL WAYS .


Scott Amendola (Nels Cline Singers, Charlie Hunter Quartet), Liz Allbee, Vijay Anderson, Bran(...)pos, Carla Bozulich (The Geraldine Fibbers, Evangelista), Sheldon Brown, Tony Buck (The Necks), members of Caroliner, Nels Cline (Wilco), George Cremaschi, Tim Dahl (Child Abuse, Lydia Lunch), J.A. Deane, Marco Di Gasbarro (Squartet), John Dikeman (Cactus Truck), Thomas Dimuzio, Shayna Dunkleman, Marco Eneidi, Luc Ex, Ben Goldberg, Fred Frith (Henry Cow, Art Bears, Massacre), Vinny Golia, Phillip Greenlief, Franz Hautzinger, Jacob Felix Heule, Devin Hoff (Good for Cows), Gerri Jager (Knaalpot), Darren Johnston, Henry Kaiser (Crazy Backwards Alphabet), Annette Krebs, Thollem McDonas, Lisa Mezzacappa, Butch Morris, Matt Nelson, Hexlove aka Zac Nelson, Kanoko Nishi, Nick Podgurski (Extra Life), Porest aka Mark Gergis, Gino Robair, Aram Shelton, John Shiurba, SF Sound, Damon Smith, Moe! Staiano, Jamaaladeen Tacuma, Raphael Vanoli (Knaalpot), Weasel Walter (The Flying Luttenbachers), Mike Watt (Minutemen, fIREHOSE), Wobbly (Negativland), Tune-yards, William Winant (Mr. Bungle), Kenny Wollesen (Sex Mob), Theater of Yugen, dancers Leyya Mona Tawil, Yuko Kaseki, and Manuela Tessi."

-Ava Mendoza Website (

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track listing:


1. Cadre 04:32

2. Omen 05:23

3. Country Lullaby 05:27

4. Jester 01:34


1. Straight Rye 03:20

2. Ulster County 01:37

3. Facade-Fatigue 03:29

4. Two-Faced 01:03

5. Wheel Of Fortune 05:20

6. After The Judgement 04:08
sample the album:

descriptions, reviews, &c.

"Rooted in rich and varied musical backgrounds while sharing a deep love of free improvisation, gabby fluke-mogul, Matteo Liberatore, Joanna Mattrey, and Ava Mendoza explore an expansive range of sonic possibilities. The quartet integrates electronic and acoustic approaches to create a powerfully distinctive alchemy.

This is a true collective, formed by Joanna Mattrey but explicitly leaderless. Much of improvised music is defined by its conception, and with Mattrey's unique choice of companions the stage was set for a thrilling new kind of "string quartet."

The group recorded in February 2021 during the pandemic, in upstate New York. From the get-go the quartet's chemistry, vast timbral palette, and propulsive connection were clear. The sheer joy and excitement of playing again after months of isolation were palpable. But also keenly felt was the weight of last year's pervasive loss, separation, and death. If there was ever the slightest doubt, the recent past had made it clear: the same social power dynamics that define people's lives also determine the how and when of their deaths. The group dove into these depths--coming up for air as necessary.

Death In the Gilded Age was born out of those disparate feelings. Amplified acoustic instruments and electric guitar gel and spike, countering and reinforcing each other. All four players move seamlessly between noise and melody, extended technique and traditional playing. They employ a vast sonic arsenal but are extremely attentive at balancing each other out in real time. They don't shy away from melody, though often one player's melodic elements are balanced by another's abstract or noisy approach. This creates a unique blend of beautiful and controlled intensity, in which even the quiet moments are kinetically charged. The music maintains its immediacy without rushing.

Death In the Gilded Age is offered humbly and with respect, as a meditation on loss and on new life. "-Tripticks Tapes

"Death In the Gilded Age references the well-established link between one's position in society (largely defined by wealth) and life expectancy. Recorded in early 2021 during one of the darkest periods of COVID lockdown, this causational pattern was on the minds of these four improvisers as pandemic-related deaths in the U.S. were just coming off their peaks. Recognizing how structural problems impact a society that lauds the purported autonomy of the individual is sadly still a radical idea in some parts. Thus, the resulting music, a set of aggressive free improvisations across ten short tracks, is a suitably radical expression of these concepts.

I'll admit a margin of familiarity with all of the contributors. Their geo-styles are variations on New York based creative music that focus as much on texture and feel as on technique. Brought together by violinist Joanna Mattrey, the collective includes fellow violinist gabby fluke-mogul, as well as guitarists Matteo Liberatore and Ava Mendoza. Each of these individuals has a "rising star" potential in the sense that recognition of their efforts seems to be growing.

And such acknowledgment is deserved. Death In the Gilded Age explores a multitude of points on several spectra - the free to the structured, tradition to extended techniques, smoothness to grittiness, just to name a few. But the most striking and immediately noticeable aspect of the album is its relentless density and spiky dissonance. Simply put, there is a lot going on and it can be challenging to unpack. One violinist might be playing an angular melody while the other produces distorted textures. Simultaneously, the electric guitar seems to be heading in its own direction with soloing while the acoustic guitar is strummed in a percussive fashion. Oftentimes members of the collective are generating unconventional sounds that require extra effort to identify the source instrument. All of this moves along at a rapid pace while constantly changing - any notion of melody or rhythm is transient.

This album is beautiful and elegant in its sheer refusal to conform to musical norms. Very well done and a candidate for many repeated listenings."-AMN Reviews

Get additional information at AMN Reviews
Related Categories of Interest:

Physical Releases that include Download Codes
Improvised Music
Free Improvisation
NY Downtown & Metropolitan Jazz/Improv
Stringed Instruments
Guitarists, &c.
Quartet Recordings
New in Improvised Music

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