Live Shot(s) #108!

 From the Golden Saguaro, Tucson 2/23/24. As show booker John described it, an evening of word to song to drone. 

Below: poet Johanna Skibsrud blended her writing with loops of female voices that inspired her. A new book of Johanna's poems will be out this year. 

Above: Dao Strom. Portland OR based troubador. Lovely, delicate guitar sounds and well considered adeptness with pedal effects. 

Below: Maiiuwak. Drone bliss! Hopefully they'll be playing out a lot, it's a winner for Tucson aesthetics.

Setting-Shone a Rainbow Light On; Paradise of Bachelors Records, 2023

 

A month or so back within Disaster Amnesiac's timeline, I had the astonishing experience of hearing Setting on WFMU. Yes, the astonishment was palpable. Hearing this group's advanced form Electro-Acoustic Drone on that day was for this listener akin to digging up a beautiful crystal out in nature, or perhaps to paraphrase from Shone a Rainbow Light On, seeing an unexpected rainbow emerging from the ether. This trio, made up of Nathan Bowles, Jaime Fenelly, and Joe Westerlund have concocted a document of such regal beauty and mystery and it's blowing my mind with each listen. These guys go deep over the record's four tracks, their instrumental blends stunning, striking, and moving throughout the duration. Obviously, Setting are group that listen to each other as they play, that honor the vibe of their current moment, and that stay aware of the sonic spaces that they find themselves within. The proof is all over Shone a Rainbow Light On. It's within the entrancing drone figures and the non bullying percussion and the enticing stringed sounds. It's within the mind of the attentive listener as these sounds caress the brain. It's within the way that Setting quite clearly produce music that is neither overbearing nor pretentious, but simply emerging from some higher place, attainable to those that remain tapped in to their true creative process. Shone a Rainbow Light On is simultaneously epic and humble. Many years ago, Byron Coley wrote about what he called "the Spirit Wind" while describing a William Hooker album. Disaster Amnesiac would like to posit that Setting were enveloped within this selfsame wind during the production of this album. This stuff is High. A friend of mine mentioned that Setting is touring out to the West Coast soon. Guys, please come to Tucson. I feel like the Sonoran Desert would be a perfect setting for Setting. Think about it.

Live shot(s) #107!

 Three shots from a Desert Drone show at Groundworks, Tucson 2/15/24. There were four acts on the bill, but after three Disaster Amnesiac's ears were kind of ragged and I had to bail. 

Below: Grayson. Laptop Noise/KVLT/Garage blending. Fugazi samples for the win! 

Above: Ball Gag. Maximum density achieved.

Below: Frame Lilt. Tucson's RIO. Really cool. 

Tony Oxley-The New World; Discus Music Records, 2023

 

Awareness of the mortal passing of British master percussionist Tony Oxley reached Disaster Amnesiac late last month, fully one month after he'd transitioned to whichever incarnation or non-incarnation his spirit would attain. I'd actually just ordered a copy of his record from last year, The New World, when I found out. Recorded in 2022 with percussionist Stefan Holker, it's a slow and steady burn over six pieces that all run together for a little bit over an hour's worth of subtle musical dialogue. It's no drum battle recording from Tony and Stefan. Instead, they dialogue with their drum kits (no photos of them on the cover, sadly), creating spaces that are filled with the more gestural techniques famously pioneered by the former and quite obviously well-studied by the latter. It's no hyperbole to say that Tony Oxley had a direct hand in inventing this type of drum set aesthetic. On this, what I'm assuming was one of his last sessions, he evinces said mastery for anyone with ear to hear it. Oxley's sound always struck this listener as having a deep visual appeal, in that it was easy to imagine structures such as abandoned factories or trellises, those sorts of things, as I listened. Across The New World's duration, Tony goes to those types of places again and again, abetted by his spare, simplified electronics sounds and Stefan's obvious simpatico. This duo lights a low key flame and kindles it as they move from zone to percussive zone, not in lock step but sounding out a deeper entrainment, one of zones and even regions, pulled from drums and cymbals an all of their varied contours. The New World feels like a reverent send off for a highly important improvisor. Check in on it, and let's hope that Tony Oxley's new world, whatever that may entail, is treating his spirit well.

Live shot #106!

 

Dancer Amy Lewis and unknown guitarist (possibly Alex Cohen?), Berkeley Arts Festival Building, ca. 2015. Not sure how this photo ended up edited as such, but I like it.