Comments on: What the Thunder Said http://destination-out.com/?p=184 Tue, 07 Sep 2010 10:25:19 -0700 hourly 1 http://wordpress.org/?v=3.0 By: Massimo Magee http://destination-out.com/?p=184&cpage=1#comment-78828 Massimo Magee Wed, 04 Jun 2008 12:54:26 +0000 http://destination-out.com/?p=184#comment-78828 Great post! more more more! Great post!

more more more!

]]> By: peter breslin http://destination-out.com/?p=184&cpage=1#comment-78825 peter breslin Tue, 03 Jun 2008 18:22:48 +0000 http://destination-out.com/?p=184#comment-78825 this is f-ing gorgeous! free noise is a beautiful category for sure, not often enough heard over here. (what do I mean by over here? mostly, my living room). Friends of mine are in a free noise unit in Santa Fe NM called The Late Severa Wires, always a pleasure. permanent transgression indeed.....by the way, the Graves/Pullen post floored me as well. Youse guyz sure are swell. this is f-ing gorgeous! free noise is a beautiful category for sure, not often enough heard over here. (what do I mean by over here? mostly, my living room). Friends of mine are in a free noise unit in Santa Fe NM called The Late Severa Wires, always a pleasure.

permanent transgression indeed…..by the way, the Graves/Pullen post floored me as well. Youse guyz sure are swell.

]]> By: Jeoff Bull http://destination-out.com/?p=184&cpage=1#comment-78642 Jeoff Bull Thu, 29 May 2008 15:25:10 +0000 http://destination-out.com/?p=184#comment-78642 There was a most interesting article in _The Wire_ a few years ago (two?) about the Japanese free-jazz scene, which got me looking for both Takayanagi and Kaoru Abe (of whom you guys have also written so eloquently before). Talk about "cowboy fuckoffishness"! This music refuses to be assimilated (pardon the nerd impulse). As antithesis to the Japanese love of the cute/perverse, such music (all the way out to Merzbow, whose _Merzdub_ with Jamie Saft is outstanding, BTW) is a permanent trangression and source of confusion, for me anyway. What is it with those islands? The mystery is the gift, indeed. There was a most interesting article in _The Wire_ a few years ago (two?) about the Japanese free-jazz scene, which got me looking for both Takayanagi and Kaoru Abe (of whom you guys have also written so eloquently before). Talk about “cowboy fuckoffishness”! This music refuses to be assimilated (pardon the nerd impulse). As antithesis to the Japanese love of the cute/perverse, such music (all the way out to Merzbow, whose _Merzdub_ with Jamie Saft is outstanding, BTW) is a permanent trangression and source of confusion, for me anyway. What is it with those islands? The mystery is the gift, indeed.

]]> By: David Grundy http://destination-out.com/?p=184&cpage=1#comment-78641 David Grundy Thu, 29 May 2008 15:16:22 +0000 http://destination-out.com/?p=184#comment-78641 Interesting stuff. I'm intrigued by the reference to the musical version of 'The Waste Land'. Wonder if it's available in any form? The Japanese free-jazz scene, particularly in 70s/80s, seems particularly interesting, but as all the artists are so obscure (even compared to their American counterparts!) it's quite hard to actually know what stuff to look out for. Maybe a Japanese free-jazz primer could be one of your future posts? Interesting stuff. I’m intrigued by the reference to the musical version of ‘The Waste Land’. Wonder if it’s available in any form?

The Japanese free-jazz scene, particularly in 70s/80s, seems particularly interesting, but as all the artists are so obscure (even compared to their American counterparts!) it’s quite hard to actually know what stuff to look out for. Maybe a Japanese free-jazz primer could be one of your future posts?

]]> By: gary altschul http://destination-out.com/?p=184&cpage=1#comment-78637 gary altschul Wed, 28 May 2008 19:42:07 +0000 http://destination-out.com/?p=184#comment-78637 great post. and great comment by karl. i am a huge fan of "echo" and what i have heard of new direction unit but i have never heard "eclipse". i think i would like it. post it here?? great post. and great comment by karl. i am a huge fan of “echo” and what i have heard of new direction unit but i have never heard “eclipse”. i think i would like it. post it here??

]]> By: Karl Evangelista http://destination-out.com/?p=184&cpage=1#comment-78611 Karl Evangelista Wed, 28 May 2008 05:54:28 +0000 http://destination-out.com/?p=184#comment-78611 BEAUTIFUL post. I remember discussing the (relatively) recently-released New Direction Unit album "Eclipse" online a while back, and "Echo" came up there, too. In its densest, most ponderous moments, the Unit achieved a level of sonic "size" that took the energy aesthetic of American, post-Ayler improvisation to an innovative logical extreme. Takayanagi's takes off on what happens at the peak moments of music like "Echo", when melody, harmony, and even rhythm are blurred; it's about the accretion of discreet musical elements into units--a unit--of sonic space and the ebb and flow of that total group sound. Another thing--"slow" is the new "loud". The weighty fulminations of the New Direction Unit, and maybe the early free work of Ray Russell--it's also there in some of Derek Bailey's stuff ("The Last Wave"?)--have this edgy sluggishness that's just so much more metal than metal. The bashfest stuff is awesome, too--tortured ecstasy, at its best, to challenge Ayler--but I can't imagine a better illustration of what electric instrumentation can do in a free improvisation setting than, say, "Eclipse". (I mean, when the electric guitar is not just another saxophone.) And I love Takayanagi's cowboy fuckoffishness. There is a true sense of iconoclasm in this music because it's not just frat boy noisy--it's thoughtful, often discomfiting, emotionally and psychologically scouring music. BEAUTIFUL post. I remember discussing the (relatively) recently-released New Direction Unit album “Eclipse” online a while back, and “Echo” came up there, too. In its densest, most ponderous moments, the Unit achieved a level of sonic “size” that took the energy aesthetic of American, post-Ayler improvisation to an innovative logical extreme. Takayanagi’s takes off on what happens at the peak moments of music like “Echo”, when melody, harmony, and even rhythm are blurred; it’s about the accretion of discreet musical elements into units–a unit–of sonic space and the ebb and flow of that total group sound.

Another thing–”slow” is the new “loud”. The weighty fulminations of the New Direction Unit, and maybe the early free work of Ray Russell–it’s also there in some of Derek Bailey’s stuff (“The Last Wave”?)–have this edgy sluggishness that’s just so much more metal than metal. The bashfest stuff is awesome, too–tortured ecstasy, at its best, to challenge Ayler–but I can’t imagine a better illustration of what electric instrumentation can do in a free improvisation setting than, say, “Eclipse”. (I mean, when the electric guitar is not just another saxophone.)

And I love Takayanagi’s cowboy fuckoffishness. There is a true sense of iconoclasm in this music because it’s not just frat boy noisy–it’s thoughtful, often discomfiting, emotionally and psychologically scouring music.

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