freejazz+noiserock w/electronic elements (ala supersilent)

user_5069 · Post by **user_5069** » Sun Jan 13, 2008 2:26 am

i've recently heard 3-4 of supersilent's albums for the first time. based on what i enjoyed most from these, i'm looking for either free jazz, more traditional jazz (though i've been pretty unimpressed with a lot of the stuff i've discovered recently searching for "electro-jazz + nu-jazz" such as the crop of stuff on soulseek that's sprung up in my searches, which throws in some loungey electronica-ish arpeggiated synths and basic reverbed pads over elevator jazz guitar work), noise rock (or even "straight noise", if there is a wide range of timbral variation, and it isn't just synthesized and dsped roars/drones/large swells as a lot of electronic noise i've heard lately is), psych-folk/psych-rock, or free improvisation (if this, hopefully in terms of sound population on the maximal size, not so sparse, ideally complex with a lot going on at once) that incorporates electronic elements such as synthesis, live sampling of the instruments/samples, processing of the instruments (both digital and analog), etc. indeed, something which fits the mold of what's desired are the less ambient/minimal pieces that supersonic has done. their albums tend to be a combination of noisy/fast paced/complex stuff (see track 7.4 from album 7) and then slower almost electroacoustic in nature tracks (i.e. track bonus from album 7). son of gunnar, ton of shel's self titled 2007 release is also in the vein of what i want: max/msp based free jazz. these are rough guidelines, so feel free to deviate from them a bit with anything that comes to mind, although for now, primarily i'm seeking music which leans toward the more energetic side of things. thanks!

user_294 · Post by **user_294** » Sun Jan 13, 2008 2:50 am

check out chicago underground duo's 'axis and alignment' record. it's definitely more groove-based and refined, more pseudo-straightforward jazz-leaning than supersilent. some really nice moments on it though, and good drumming/vibes/marimba work, plus various electric sounds. sometimes flirting w/more free/fluid forms

fearandpanic · Post by **fearandpanic** » Sun Jan 13, 2008 9:06 am

Definitely try Amplified Trio by Han Bennink, John Coxon & Ashley Wales (of Spring Heel Jack) on the Treader label. Rambunctious and fantastic.

dave quam · Post by **dave quam** » Sun Jan 13, 2008 4:33 pm

Smegma

Post by **grisha** » Sun Jan 13, 2008 5:09 pm

Frode Gjerstad's duo with Lasse Marhaug.

user_294 · Post by **user_294** » Sun Jan 13, 2008 5:52 pm

fearandpanic wrote:Definitely try Amplified Trio by Han Bennink, John Coxon & Ashley Wales (of Spring Heel Jack) on the Treader label. Rambunctious and fantastic.

damn this is good stuff

user_4713 · Post by **user_4713** » Sun Jan 13, 2008 7:48 pm

Valerio Cosi.

Sonically awesome psychedelic free jazz. Elements of krautrocky drone and experiments with electronics. Awesome sax playing, too. Dude released four albums under his name last year and they're all awesome if you're into forward-thinkingness within the jazz realm (and outside, which is where a lot of this stuff ultimately ends up going.)

faster · Post by **faster** » Sun Jan 13, 2008 8:58 pm

I'll put in a vote for Cassiber, and Goebbels Heart by extension.

carlos · Post by **carlos** » Sun Jan 13, 2008 9:05 pm

God Anatomy of Addiction (1994)
haven't played this in years- but it had Justin Broadrick (Godflesh) and Kevin Martin with Tim Hodgkinson and Alex Buess on horns. very loud, energetic and with lots of loops/samples

Alex Buess and his group 16-17 also

bedouin · Post by **bedouin** » Sun Jan 13, 2008 11:24 pm

I got into eai straight after learning to listen Supersilent 1 to 6.
Starting with Radian, Efzeg, Trapist (Highway My Friend), the 2 Stangls form Erstwhile (Too beautiful to Burn and Schnee) and the phenomenal Christian Weber (3 Suits & a Violin).
Perhaps with the exception of Radian/Efzeg none of these are as extreme as Supersilent but the soundscapes (unsynthesized timral variations, as you put it) are on a different league.
If you're already familiar with this scene, fair enough, otherwise the Polwechsel website is a good place to start.
The Sugimoto/Akiyama wave came soon after that.

bedouin · Post by **bedouin** » Mon Jan 14, 2008 12:51 am

I would also add that I don't think there is much beyond Supersilent in this vein.
Some of the recordings mentioned in this thread (for instance the Treader CDs) are IMO entry points (and nowhere near) to where Supersilent are. You will need to move sideways to find things interesting.
On a completely different plane there are also Henriksen's solo masterpieces: Sakuteiki and Chiaroscuro

user_294 · Post by **user_294** » Mon Jan 14, 2008 2:40 am

bedouin wrote:I would also add that I don't think there is much beyond Supersilent in this vein.
Some of the recordings mentioned in this thread (for instance the Treader CDs) are IMO entry points (and nowhere near) to where Supersilent are. You will need to move sideways to find things interesting.

one listen to the amplified trio recording made me think otherwise. it's undoubtedly akin to the busier, more energetic supersilent tracks, but feels less constipated, and less solemn. definitely less deliberate in tone than supersilent. ssilent seem very stagnant, over the course of their six? albums. the tracks tend to lapse into dazed, directionless, uninteresting (albeit silky and smooth) drifts. the first track on 8 is a tease, as it hints at some dense and dark nastiness and even settles into a nice dirge, but the rest of the album just seems unrewarding. also, han bennink possesses far better flow and attack than the supersilent drummer.

i guess the amplified trio recording just felt more invigorating and immediate than what i've heard of supersilent over the years.

bedouin · Post by **bedouin** » Mon Jan 14, 2008 3:30 am

misc frank wrote:
bedouin wrote:I would also add that I don't think there is much beyond Supersilent in this vein.
Some of the recordings mentioned in this thread (for instance the Treader CDs) are IMO entry points (and nowhere near) to where Supersilent are. You will need to move sideways to find things interesting.
one listen to the amplified trio recording made me think otherwise. it's undoubtedly akin to the busier, more energetic supersilent tracks, but feels less constipated, and less solemn. definitely less deliberate in tone than supersilent. ssilent seem very stagnant, over the course of their six? albums. the tracks tend to lapse into dazed, directionless, uninteresting (albeit silky and smooth) drifts. the first track on 8 is a tease, as it hints at some dense and dark nastiness and even settles into a nice dirge, but the rest of the album just seems unrewarding. also, han bennink possesses far better flow and attack than the supersilent drummer.

i guess the amplified trio recording just felt more invigorating and immediate than what i've heard of supersilent over the years.

I wouldn't necessarily call supersilent the best in any of their instruments, but learning to listen to them opened up a large number of possibilities for me. Hence the eai recommendations above.

Alastair · Post by **Alastair** » Mon Jan 14, 2008 4:04 am

bedouin wrote: the 2 Stangls form Erstwhile (Too beautiful to Burn and Schnee)

The guitarist on Too Beautiful To Burn is Martin Siewert, not Burkhard Stangl. Great record (as is Schnee).

user_294 · Post by **user_294** » Tue Jan 15, 2008 12:44 am

bedouin wrote:
misc frank wrote:
bedouin wrote:I would also add that I don't think there is much beyond Supersilent in this vein.
Some of the recordings mentioned in this thread (for instance the Treader CDs) are IMO entry points (and nowhere near) to where Supersilent are. You will need to move sideways to find things interesting.
one listen to the amplified trio recording made me think otherwise. it's undoubtedly akin to the busier, more energetic supersilent tracks, but feels less constipated, and less solemn. definitely less deliberate in tone than supersilent. ssilent seem very stagnant, over the course of their six? albums. the tracks tend to lapse into dazed, directionless, uninteresting (albeit silky and smooth) drifts. the first track on 8 is a tease, as it hints at some dense and dark nastiness and even settles into a nice dirge, but the rest of the album just seems unrewarding. also, han bennink possesses far better flow and attack than the supersilent drummer.

i guess the amplified trio recording just felt more invigorating and immediate than what i've heard of supersilent over the years.
I wouldn't necessarily call supersilent the best in any of their instruments, but learning to listen to them opened up a large number of possibilities for me. Hence the eai recommendations above.

i think sitting at a bus stop does as much for a tolerance and patience for EAI music as anything else can.

user_5040 · Post by **user_5040** » Tue Jan 15, 2008 5:36 pm

"i think sitting at a bus stop does as much for a tolerance and patience for EAI music as anything else can."

hahaha

i can see that!

in all honesty, some of the noisier, older buses (especially the ones with loose parts) make some of the greatest, often rhythmic, collections of throbbing drones, inharmonic and harmonic hums, and arrythmic rattling...

user_294 · Post by **user_294** » Wed Jan 16, 2008 12:53 am

definitely. i guess i was implying that you can have that sort of experience (listening) in any scenario. you'll find a marvelous tapestry in the din of every day sounds[/corn frittrz]

user_3068 · Post by **user_3068** » Wed Jan 16, 2008 7:36 pm

I need to hear more supersilent I think I've only listened to 6 and 3 maybe? I dunno, I know I heard 6 but forgot what the other one was. I have the disks some where I'll have to find them and give them another listen. Nothing caught me too much but I didn't really pay attention to it.

surfer · Post by **surfer** » Wed Jan 16, 2008 7:57 pm