|Lily Maase + The Suite Unraveling|
|The Suite Unraveling|
Lily Maase + The Suite Unraveling — The Suite Unraveling
¬¿¦ Atmosféra alba vytváří zvukovou architekturu, je metodická, ale pod napětím. King Crimson a Mahavishnu Orchestra přistupovali k architektuře jinak: "dostaneme se tam, až tam budeme". Tady je luxusní bonboniéra otevřena hned. Tuto hudbu jsem naposledy slyšel v roce 1979 "U Zábranských". James Blood Ulmer a Lily Maase, dostali od mé spojovatelky avízo: "nezavěšujte, jste v pořadí".
¬¿¦ Není to hudba pro masivní zábor Vypichu, spartakiáda nebude. Husákova mentální jatka taky ne: tato hudební zóna je určena pro ty, co rádi čerstvé, svěží, voňavé, prostě v topografii je to stav mysli, která ještě pracuje.
¬¿¦ V každé písni je tu spousta děje v daném okamžiku, ale nic z toho po způsobu ADHD cesty, kde všechno se stane jaksi náhodně a nesouvisle a látka se ztrácí v záplavě polyrytmů, prvoplánů a dissonancí. Tady si Marek Svoboda pošmákne: jistě!
¬¿¦ Tady jeden nápad jasně vyplývá z předešlého, je stále dost času prozkoumat každý okamžik, než se vytvoří prostor pro intuici v pásmu přechodu na ten další. Album pro frajery.
Location: Brooklyn, NY
Genre: Rock / Progressive / Post-Rock
Album release: August 19, 2014
Record Label: Tzadik
1. Gallagher Walks In 7:36
2. Applying Leeches: Materials Needed 5:03
3. Ricochet 9:18
4. Life at Stylus Point 5:15
5. (my melody lies) Elsewhere 11:30
6. Made to Be Broken 8:26
• Lily Maase: Guitar, Electronics
• Michael Kammers: Sax, Farfisa Organ
• Curt Garey: Percussion, Keyboard, Electronics
Description from Tzadik:
♦•♦ Brooklyn based Lily Maase is a guitarist and composer of powerful originality. Influenced equally by Ornette Coleman, Morbid Angel and electronic music, she has created a modern jazz-rock fusion that captures the funky edge of Blood Ulmer with minimalism, indie rock and a touch of psychedelics. Powerful riffs, spontaneous conducting techniques, searing solos and a unique lyricism from this exciting New York based trio!
♦•♦ Lily Maase, Michael Kammers, Curt Garey. Brooklyn based Lily Maase is a guitarist and composer of powerful originality. Influenced equally by Ornette Coleman, Morbid Angel and electronic music, she has created a modern jazz-rock fusion that captures the funky edge of Blood Ulmer with minimalism, indie rock and a touch of psychedelia. Blending powerful riffs with spontaneous conducting techniques, searing solos and a unique lyricism, the exciting debut CD by this New York based trio is another fabulous release on Tzadik s newest Spotlight Series.
♦•♦ The Suite Unraveling is a Brooklyn-based instrumental rock trio founded by guitarist and composer Lily Maase. They have a slight obsession with robots. And with smashing watermelons.
♦•♦ With one foot planted in the world of rock and roll and the other firmly in the avant-garde, Maase and cohorts Michael Kammers (saxophone/Farfisa organ) and Curt Garey (percussion/laptop) embrace influences as broad as Morbid Angel, Ornette Coleman, electronic music, Gallagher, and guitar heroes from the days of yore. The goal? To create something honest and new, steeped in the sensibility of simpler times, but reaching with reckless abandon into the sonic landscape that lays ahead.
♦•♦ In 2010 the Suite Unraveling were composers-in-residency at the University of New Mexico Composers’ Symposium, where they presented music alongside Martin Bresnick and Bill Frisell.
♦•♦ In January 2011 the Suite Unraveling traveled from California to Brooklyn to present 33 evenings of music in 35 days. The group traveled from Brooklyn to upstate New York three times throughout the calendar year and received a grant from Texas A&M University to develop and participate in a distance collaboration with the University’s composition students. The collaboration focused on Maase’s work with Soundpainting–a sign language for live composition–as a means of creating pockets of spontaneity within the Suite Unraveling’s songs.
♦•♦ The grant yielded a three-day residency at Texas A&M followed by a brief tour of rock venues throughout the region, and provided funding for a full-length recording upon the group’s return to NY. The recording was co-produced by Ms. Maase and Brian Scott Herman of SMT/Tree Fort studios, whose recent production credits also include BootBlacks, Teachers, JP & the Gilberts, and Census.
♦•♦ The band was signed to John Zorn’s Tzadik imprint in October 2013 and released their first effort as a trio in August 2014.
Music for robots: http://musicforrobots.org/
♦•♦ “One of the best things about New York City is the way in which it can take art and music that would be the nichiest of the niche in other cities and support it to the point where, say, four acts based around noisy minimalism and free jazz-derived improvised music can pack a bar to sweat-inducing levels on a Thursday night. It’s seriously inspiring to know that there are so many other weirdos out there, and that some of them can become rock stars.” — Gabriel Birnbaum, Jezebel Music
♦•♦ “Prog-rock it may be, but it rests on a strong jazz foundation and an unselfish approach from every participant. Turn it up.” — Mel Minter, the Weekly Alibi
♦•♦ “A standout is "Anthem," a song that carries one theme to its peak, sinister and sensuously revealing layers and shouting renditions, before hardly veiled references to Nirvana in the final statement. Through her solo, Maase provides the variance over her rhythm section's unchanging melodic straightforwardness. They are chained to their compositions with a sense of duty, but provide fantastic playing on all accounts to capture intricate songs.” — Ross J. Edwards, Knocks from the Underground
♦•♦ “The Suite Unraveling is a brilliant merger of avant, prog rock and jazz that just pulls you into its unique soundscape and won’t let you go. Good music embraces you and fills you with emotions that you are unafraid to express to the world, which is a feat that this group absolutely manages to accomplish. The work is brilliant, and I can only really describe it as the best of all its contributing genres.” — Kyle Bryant, NY Music Nerd
♦•♦ "Sublime heaviness" — Deli Magazine
♦•♦ I have a soft spot in my brain for instrumental groups. Prog artists are rarely great with words, and often they just end up sounding contrived, shallow, or foolish when they try to come up with lyrics that fit their ridiculous melodies. Instrumental groups are wise enough to forego these often pointless exercises, and I appreciate their ability to communicate without being explicit (as a wise robot once said, “Your lyrics lack subtlety, you can’t just have your characters announce how they feel! That makes me feel angry!”)
♦•♦ The Suite Unraveling is a good example of how you don’t need words in music. The group falls somewhere on the spectrum between jazz and prog, which can be a hard line to straddle without becoming boring as hell or overly pretentious (or most often, both). Typically bands in this predicament will get too comfortable in their own skin and forget that their music needs to go somewhere, instead of droning on for ten minutes on the same chord progression like a depressed Buddhist chant. The Suite Unraveling avoids this pit fall on their most recent album, Music for Robots, fairly well. ♦•♦ While I’d be lying if I told you that these songs rush from phrase to phrase, you will never wonder when the band is going to get over themselves and move on to the next point they’re trying to make. The vibe the album creates is methodical but energized, and even on my first listen I found myself really enjoying what my ear holes were witnessing.
♦•♦ The first comparisons I drew in my mind listening to Music for Robots were to the albums King Crimson put out between In the Court of the Crimson King and Red, as well as some of the less frantic Mahavishnu Orchestra selections. All of these bands take a “we’ll get there when we get there” approach to their songs that I find extremely listenable, though I know others don’t share this view. None of this is music to dance, headbang, skank, or freak out to, but it’s not music to zone out to either. In each song there’s a lot going on at any given moment, yet none of it ever happens in an ADHD sort of way where everything becomes random and disjointed, and substance gets lost in a flurry of poly-rhythms, prime numbers and dissonance. One idea clearly follows another, and instead of trying to squish and trim it’s material the band takes it’s time exploring each moment they create before moving on to the next.
♦•♦ It’s not music that will appeal to everyone immediately, but I really enjoyed listening to Music for Robots. As I said before, if you like early King Crimson but want something less sinister, or if you like Mahvishnu Orchestra but desire a little less aural masturbation (note: Obviously I’m still a huge fan of aural masturbation!) then you very well might enjoy The Suite Unraveling.
|Lily Maase + The Suite Unraveling|
|The Suite Unraveling|