Cuneiform Releases for October 2015

THAT :: CONCERT CHAMPÊTRE
Unpopular Classics (Poulenc)
Live at QUEERING SOUND, 06 June 2021
Rhizome DC, Washington DC USA

THAT :: JS Adams + Christopher Mathews-Larsen
RECORDING :: Steve Sanford
MIX :: JS ADAMS

THAT :: CONCERT CHAMPÊTRE :: LIVE

Am7 CHORDS! MOTORIK BEATS! CICADAS! BUZZSAWS! KAZOOS!

LIVE @ QUEERING SOUND 2021 :: 13 JUNE 2021 :: RHIZOME DC :: WDC

CK BARLOW :: SAMPLER / ELECTRONICS
CHRISTOPHER MATHEWS-LARSEN :: GUITAR / DRUM PROGRAMMING / AZTEC DEATH WHISTLE
JS ADAMS :: PROCESSING + EFFECTS / FIELD RECORDINGS / LOOPS / AZTEC DEATH WHISTLE / AUDIO PLAYBACK
JEFF BARSKY :: GUITAR
JOSH MAXWELL :: BASS
+
AUDIENCE PARTICIPATION :: KAZOOS
AUDIENCE COORDINATOR :: CHRIS VIDELL

RECORDING :: STEVE SANDERS

ONE CHORD PONIES :: A LIFE OF INDETERMINATE REWARD

DECONSTRUCTION/RE-ADAPTATION OF LA VOIX HUMAINE (THE HUMAN VOICE), AN OPERA BY FRANCIS POULENC BASED ON THE ONE-ACT PLAY BY JEAN COCTEAU. HELLO? HELLO!

LIVE @ QUEERING SOUND 2021 :: 15 JUNE 2021 :: RHIZOME DC :: WDC

[ live performers ] 
CK BARLOW :: SAMPLER / ELECTRONICS
CHRISTOPHER MATHEWS-LARSEN :: GUITAR
JS ADAMS :: PROCESSING + EFFECTS / FIELD RECORDINGS + LOOPS / SAMPLES / CALIFONE + PREPARED VINYL / AUDIO PLAYBACK
JEFF BARSKY :: GUITAR
JOSH MAXWELL :: BASS

[ digital contributitors ]
BLEEDINGBLACKWOOD . {AN} EEL . JASSIE RIOS . ROSHI NASEHI . SARAH O’HALLORAN . KATIE MACYSHYN 

RECORDING :: STEVE SANDERS
MIX :: JS ADAMS

LA VOIX HUMAINE :: 13 JUNE 2021 :: LIVE

Buy it here
https://cuneiformrecords.bandcamp.com/album/other-worlds

Andrew Niven – drums, percussion, synth, sequencers
Eric Klerks – bass, 8-string guitar, synthbass
Max Kutner – electric and acoustic guitar

with
Mike Keneally ¬– keyboards, guitar, samples
Jonathan Sindelman – keyboards, organ
Daniel Rosenboom – trumpet
Jessica Lurie – baritone sax
Gregg Bendian ¬– vibes

Produced by Mike Keneally and Android Trio

Concentric Lines

ANDROID TRIO "Concentric Lines" from "Other Worlds" (Cuneiform Records)

From our upcoming release "Somnambulist" coming out on Cuneiform records January 20th! Preorder is available now here: https://cuneiformrecords.bandcamp.com/album/somnambulist

The Kandinsky Effect  - Somnambulist

X (Part 1)

"...a quirky, catchy blend of pop hooks and jazz-centric soloing...it's rare for a group so young to emerge with such a fully formed and distinctive concept, but Pixel seems to have accomplished just that."
– AllAboutJazz

“The first thirty seconds of this album was enough to tell me that I would probably like Norwegian band Pixel. I did...this band has something new to say musically and produces tunes that are toe-tappingly, wantonly catchy."
– London Jazz News

"...unique and compelling."
– Expose

The award-winning Norwegian jazz quartet Pixel is in the vanguard of a scene brimming with exceptional young musicians, charting an exhilarating, improvisation-steeped jazz path infused with the cathartic energy of indie rock. Pixel’s third album Golden Years captures the next step in the band’s rapid evolution.

Pixel consists of double bassist and vocalist Ellen Andrea Wang, drummer Jon Audun Baar, trumpeter Jonas Kilmork Vemøy, and saxophonist Harald Lassen (with everyone contributing vocals).

Pixel tends toward translucent textures, tight orchestration and pop-inflected songcraft. While the sound is essentially acoustic, Vemøy and Lassen increasingly employ subtle effects that provide deeper textural depth to the already charged mélange of bright harmonies and protean rhythmic thrust.

Golden Years is the result of Pixel’s bustling 2014, a year in which the quartet played nearly 100 gigs (while also each pursuing projects of their own). When they started the recording process at the end of the year, everyone brought new songs to the table, tunes documented over five intensive days in the studio. Together these extraordinary musicians created an expansive album and sound unlike any other band on the scene. Still growing and discovering what they’re capable of, the musicians of Pixel are in their prime, and the group’s third album makes a compelling case that these are the best of times on the Norwegian scene.

Pixel, "Nothing Beats Reality" from 'Golden Years' (Cuneiform Records)

Le Rex, "Le Clic" from 'Wild Man' (Cuneiform Records)

"I...was stunned by his Hendrix meets late era Coltrane approach."
– Guitar Moderne

"Despite the boilingly hot drive...influenced by Cream, Lifetime, the Jimi Hendrix Experience (and perhaps more notionally the Pete Cosey/Reggie Lucas version of the Miles Davis group), there's a lyrical side to the guitarist’s playing as well...Excellent."
– Point Of Departure

"...out jazz with lots of sass and vigor...recalls the thornier side of the ECM Records catalog, especially the works of fellow Scandinavians Edward Vesala and Terje Rypdal. Björkenheim attacks the guitar the way the late great Sonny Sharrock did - like Coltrane and Ayler “attacked” their saxophones...yet blues is never very far away. There’s also the chunky focus of pre-Mahavishnu John McLaughlin...The way RB cross-pollinates between jazz and rock recalls fellow traveler Nels Cline, and the results are similar: Oblique swing, gnarly noise, predictably unpredictable, swell."
– Icon

Ecstasy is usually an all too fleeting experience offering the briefest glimpse at transcendence. But a heightened sense of consciousness and discovery manifests throughout Out of the Blue, the transporting second album by composer and guitar maestro Raoul Björkenheim and his extraordinary Finnish quartet Ecstasy.
Featuring the celebrated drummer Markku Ounaskari, the young and dauntingly prolific bassist Jori Huhtala and saxophonist Pauli Lyytinen, Ecstasy has forged more than a signature sound. Over the course of five years the musicians have honed a supremely interactive modus operandi marked by unstable textures, rapidly shifting meters, and emotionally charged melodic flights. Earthy, pristine and unmistakably Nordic, the music evokes the grandeur of Finnish landscapes and the hothouse intimacy of a tight-knit Helsinki scene where the musicians regularly convene to refine their volatile sound.

“I always felt there’s something special about having a band,” Björkenheim says. “An all-star session can be good too, but the thing I’m missing nowadays in jazz is really good bands playing together tightly, turning on a dime together, and especially improvising together.” True to Raoul's statement, this is a band effort, and like all great bands, the sum is greater than the parts. With 2 years additional experience together for this album, everything is upped from the last one: the compositions, the improvisations, the ensemble work and the solos!

Raoul Björkenheim / eCsTaSy, "Uptown" from 'Out Of The Blue' (Cuneiform Records)

Far too many groups are described using the words "nobody sounds like them," but with Switzerland's Sonar, it's a description of rare verisimilitude. At a time when most guitarists' acumen is measured in notes per second, Sonar is, instead, the confluence of rigorously considered writing, collective restraint, and a sound instantly recognizable as much for what is not there as for what is. A musical animal that manages to engage the mind while hitting the heart and the feet (despite its disposition towards complex polyrhythms), to call SONAR "instrumental rock" is unfairly reductionist for a group whose purview extends beyond progressive rock into contemporary classicism...certainly minimalism...a subtle taste of jazz...and, on its latest album, Black Light, perhaps even a hint of surf music described by the group's primary composer, guitarist Stephan Thelen, as "Duane Eddy Meets Jackson Pollock."

Thelen may cite King Crimson, the compositional rigour of Nik Bärtsch, and minimalist composer Steve Reich amongst SONAR's more obvious touchstones but, just as its previous albums did, Black Light manages to come out of the gate sounding like none of them. An integrated team of players who place music ahead of ego, guitarists Thelen and Bernhard Wagner relentlessly eschew flashy gymnastics and even largely avoid the usual arsenal of effects beyond a touch of reverb and a bit of distortion; Christian Kuntner is a lithe, dancing and eminently intuitive bassist while, at the same time, providing a potently visceral foundation; and Manuel Pasquinelli accomplishes the seemingly impossible feat of simultaneously delivering multiple rhythms in real time.

Black Light also represents the first time Sonar has recorded with an outside producer in tow. And what a producer: David Bottrill, whose work as a producer and/or engineer, in addition to Crimson, Peter Gabriel and Tool, also includes time spent with Rush, Smashing Pumpkins and Dream Theater. "The music is at once simple and complex," Bottrill writes at his website, "polyrhythms over melodies over thunderous bass and a drummer who can seem to split his own body in half to play in two or more different meters at once." Recorded live in the studio with no overdubs, Black Light is as in-the-moment as it gets and is a perfect representation of this band and what this band does!

SONAR, "Black Light" from 'Black Light' (Cuneiform Records)

"...ranges from industrial drones (during pre-industrial times) to earth-shaking rock to pre-new age visions of beauty." 
– Alternative Press

Richard Pinhas has long been recognized as a pivotal figure in the development of combining rock music with electronics. Years before MIDI existed, Richard was creating sophisticated electronic music using vast walls of the available components of the day. Both as a solo artist and with his band Heldon, he released a number of advanced and classic albums in the 70s that set the stage for much of what is thought of as 'contemporary music'.  

Originally released only in France in 1977, Chronolyse was his second solo album. It included one side of solo, live Moog synthesizer pieces, notable for their wide, stereo field and unique sound - a product of the weeks he spent setting up and programming the sounds on his huge Moog modular synthesizer and one side with a lengthy, stormy, drone-filled, epic of mellotrons, electronics, guitar, bass and drums by Heldon. 

This is the first-ever vinyl reissue of this classic, which has been unavailable on vinyl for 35 years!

Richard Pinhas, "Sur Le Theme De Bene Gesserit VII" from 'Chronolyse' (Cuneiform Records)

Gyp The Blood

Nice Day for a Lynching-Kenneth Patchen

The bloodhounds look like sad old judges
In a strange court. They point their noses
At the Negro jerking in their noose;
His feet spread crowlike above these
Honorable men who laugh as he chokes.

I don’t know this black man.
I don’t know these white men.

But I know that one of my hands
Is black, and one white. I know that
One part of me is being strangled, 
While another part horribly laughs.

Until it changes, 
I shall be forever killing; and be killed.

Recorded by The Claudia Quintet +1 with Special Guest-Kurt Elling


The Bloodhounds

Recorded at Avatar Studios NYC May 2012 (Katherine Miller)
Mastered at Pinch Recording NYC May 2020 (E. Scott Lindner)

Personnel:
Matt Steckler - alto/soprano sax, flute
Curtis Hasselbring - trombone
Todd Neufeld - guitars
Dave Ambrosio - bass
Satoshi Takeishi - drums & percussion

01 Night Cravings - Master A 44

Cuneiform Records is an independent record label releasing adventurous, boundary-bursting music by artists from around the world. Founded in 1984.

Pixel, "Nothing Beats Reality" from 'Golden Years' (Cuneiform Records)

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