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Hypercolor — Hypercolor (January 20, 2015)

Hypercolor — Hypercolor (January 20, 2015)

          Hypercolor — Hypercolor (January 20, 2015)Hypercolor — Hypercolor (January 20, 2015)•  “Lukas Ligeti elegantně překlenuje klasicko–modernistickou–world–hudební propast tím, že kombinuje svůj post–minimalistický kompoziční styl s jinými aspekty současných výrazů, jako je hluk a elektronika, stejně jako i domorodé (nebo přesněji non–západní) hudební a kulturní vlivy.”
•  Previewing their debut CD on Tzadik (released 01/15), this strangely marvelous rock–spastic–jazz band features composition by all three members. NYC–based Hypercolor’s ridiculous artsong craftsmanship alternately revels in complexity or brazen simplicity, favoring entropy and near–disaster over order or tidiness. Hypercolor bears limbs borrowed from NYC No–Wave, and orchestral rock textures.Location: Brooklyn, New York, NY
Album release: January 20, 2015
Record Label: Tzadik
Duration:     49:53
Tracks:
01. Squeaks     2:16
02. Chen     4:08
03. Forget     5:24
04. Ernesto, Do You Have a Cotton Box?     4:28
05. Glowering     5:08
06. Palace     2:16
07. Far Connection     3:53
08. Transist     5:24
09. Little Brother     10:51
10. Quixotic     6:05
Personnel:
•  Eyal Maoz: guitar;
•  James Ilgenfritz: bass;
•  Lukas Ligeti: drums, bells, percussion.
REVIEW
By DAVE WAYNE, Published: February 11, 2015 | SCORE: *****
•  The past few months have seen a stream of truly — and in some cases mind–bogglingly — wonderful guitar–centric power trio albums. Yet, the eponymous debut of the Brooklyn–based avant–jazz–rock band Hypercolor stands out, but not for the reasons you'd think. Sure, the trio consists of musical brainiacs James Ilgenfritz and Lukas Ligeti; genre omnivores whose own work and collaborations draw as heavily from the worlds of free improvisation, contemporary classical, various ethnic musics, and art–rock as they do from jazz. How guitarist Eyal Maoz, best known as one of the most distinctive young musicians in John Zorn's orbit, has remained an underground sort of figure is beyond me. Like his bandmates, his playing is distinctive and virtuosic, and his recordings to date have been consistently fresh and restlessly eclectic. Take, for example Hope and Destruction (Tzadik, 2009) which successfully fused traditional Yiddish melodies and modern metal with the hyperactive rhythms of 70s disco–funk.
•  Hypercolor is similarly eclectic. The trio eliminates the overt references to dance music, and replaces them with a punkish sort of old school jazz–rock energy. The album is rife with the sort of strutting attitude that made Tony Williams' Lifetime (in all of its concatenations) so much fun to listen to. The end result, though, is more along the lines of Fred Frith's great trio, Massacre, or perhaps the Nels Cline Singers. The tunes themselves are not overly complex. Pretty much all of them have these incredibly striking and memorable melodies, riffs and sequences that emerge and dissipate organically. Though the individual performances throughout the album are uniformly excellent, the real star of the show is the interplay between the three virtuosi. Ligeti seems to be the Lenny White of the avant–garde scene: mega chops are on hand, but take a back seat to taste, flow, and humor. Ilgenfritz' 5–string bass echoes Bill Laswell's sub–basement bottom end. But it's not a gimmick; his abyssal ruminations add dimension and space, and contrast with the crisp, trebly guitar and drums in an additive sense. Maoz' playing is gloriously all over the map. "Transist" is a surf–tinged bluesy howl, the combination of Hendrixian grit and sweet lyricism on "Little Brother" echoes Nels Cline, and the twangily piquant opening line of "Forget" reminded me a little of something that Richard Thompson might play; until Maoz takes the tune in a completely different direction. Free–ish jazz skronk pops up on "Ernesto, Do You Have A Cotton Box?" while the sharp tutti passages of "Far Connection" are repeated in a variety of interesting ways as Ilgenfritz, and then Maoz, cut loose. The pensive quiet that envelops "Quixotic" suggests any number of ECM recordings, but there's a humor and athletic energy here that rarely seems to crop up on the august label's recent productions.
•  The band's name, oddly enough, refers to a now–defunct line of leuco–dyed clothing that changed color in response to the wearer's body temperature. Sort of like a full–body mood ring. The parallel is obvious. One gets the sense that these tunes are never played the same way twice. This is malleable, bendable music: the sort that grows and evolves and changes and adapts to its surroundings. •  http://www.allaboutjazz.com/
Bandcamp: http://hypercolorband.bandcamp.com/album/hypercolor•  Time Out New York: "Hypercolor specializes in loopily unhinged punk–minded fusion ... [with] extensive experience in the avant–jazz and contemporary–classical realms"
•  NYC Jazz Record: "A fierce unit specializing in a noise–bathed jazz/rock hybrid. Hypercolor hammer out, literally, a cerebral and methodical assault on the senses ... electrifying and perpetually locked–in while sprinkling in manic improvisational flourishes. With a rhythm section of elastic and rollicking precision, Maoz goes off the
rock– centric rails ... exploding from his gnarly and nimble fretwork".
REVIEW
Por: The Holy Filament 18 jun, 2015
•  http://www.theholyfilament.cl/articulos/hypercolor-hiperventilado-jazz-experimental-desde-el-downtown-neoyorkino/_____________________________________________________________

Hypercolor — Hypercolor (January 20, 2015)

 

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