Hypercolor is a NYC trio making its self-titled debut on “downtown” figurehead John Zorn’s Tzadik imprint later this month. Unsurprisingly, the threesome comprised of guitarist Eyal Maoz, bassist James Ilgenfritz, and drummer Lukas Ligeti (all of whom are accomplished composers and improvisers) delivers the label’s trademark brand of controlled improvisation. However, the band’s deceptively simple setup proves to be another welcome take on Zorn’s “game piece” mentality; the result a work of spastic jazz-rock that courts entropy for the entirety of its playtime. This act is aptly named – Hypercolor will likely be among the most vibrant blasts of rock music this year.
Look out for this thing, due to drop 15 January via Tzadik.
To close out CLASSICS WEEK 2014, we’re diving into one of jazz flute’s biggest touchstones: Roland Kirk’s I Talk with the Spirits.
For this latest installment of CLASSICS WEEK 2014, Anthony Fantano takes on a quintessential jazz rap album: A Tribe Called Quest’s The Low End Theory.
Once fusing electronic music and jazz on fantastic albums such as Isla and their 2012 self-titled LP, Portico Quartet were one of the most interesting modern music groups to come out of the UK. However, the band’s undergone a few major changes as of late:
1. They’re now a trio.
2. They’re now known simply as “Portico.”
3. They’re signed with Ninjatune.
They’ve got a new album on the way as well titled Living Fields, and “Bright Luck” is the first track to drop from it. The song is a stylistic change of pace, finding the band leaning less on their jazz background, and more on the current trend of ethereal, exploratory, R&B-tinged electronic pop. Jono McCleery’s vocal performance is quite wonderful, but I can’t say the instrumental does anything other than make way for him, really. While I don’t mind this track, I hope the band is still able to showcase their instrumental muscle and finesse on some of the deeper cuts here as well.
Look for Living Fields on March 25th.
Get ready for the most pummeling 40 minutes of music in 2014.
Prime is the latest release from Holland jazz trio Dead Neanderthals, and the band pulls absolutely no punches on their album posted above, which is just one immense free jazz track. It’s a wild and overwhelming listen, and not for the faint of heart. Enjoy!
Last month, Alex Zhang Hungtai announced the laying to rest of his long-running and acclaimed no-wave singer-songwriter alias Dirty Beaches. The recently released Stateless was packed with gorgeous drones and was thankfully an elegant end for the project.
There was a silver lining to this news: Hungtai announced that new music under different handles would be coming as soon as 2015. Lo and behold, he has already delivered over 20 minutes of music under the pseudonym Last Lizard. The 18-minute-long “Dickie’s Theme” and the below 4 minute excerpt from “Detroit” are billed as “tenor sax and tape experiments,” in a similar vein as some of the material on Stateless. Try to imagine The Disintegration Loops constructed only out of layered tenor sax sounds – if you can, then you ought to have a good idea of what you’re in for.
R.I.P. Dirty Beaches. Long live Last Lizard!
On its 12th album, Norway’s eminent free improvisational outfit Supersilent is still managing to turn out some pretty evocative and extraordinary music. Having dabbled in avant-garde jazz, EAI, noise, and experimental rock throughout its career, the trio now finds itself in a decidedly dark ambient place. Just listen to 12‘s opening track – Arve Henriksen’s forlorn trumpet drifts and stabs out through a murk of synthesized wind courtesy of Ståle Storløkken and Helge Sten. Listening to the track is like slowly losing consciousness in a cave leaking hazardous gas. Thankfully, Supersilent is still capable of delivering inspired material to keep the listener the right kinds of intoxicated and breathless.
12 is out now via Rune Grammofon.