Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Surreal, Occasionally Assaultive Epics and a Bushwick Brewery Gig from Bassist James Ilgenfritz

You’re going to want to turn down the volume on your device for the first track on bassist James Ilgenfritz‘s wildly uncategorizable new album You Scream a Rapid Language – streaming at Bandcamp – especially if you’re wearing earbuds. Some of this is assaultive, abrasive music, but it can be a treat for people who gravitate toward those kinds of sounds. The bassist’s next gig is a two-night stand with multimedia artist and playwright Sarah Krasnow at Honey’s, a mead brewery at 93 Scott Ave. in Bushwick on Jan 4 and 5 at 8 PM. Cover is $10; since this is happening over another L-pocalypse weekend, if you’re not in the neighborhood, it’s going to be a bitch to get to. The closest train that’s running is the M to Myrtle Ave; you could take your chances with the bus after.

Muted, pummeling beats anchor violinist Pauline Kim Harris’ sharp, shrieking, slashing upper-register riffage in the album’s first track, Terminal Affirmative. As usual, Ilgenfritz writes for every fraction of the available sonics, from nails-down-the-blackboard upper-register harmonics, to cello-like low-midrange washes, to pings and thuds from Alex Cohen’s double bass drum. .And just when you think this might be all shards and fragments, it turns into a witchy tarantella.

The second number, Apophenia III: The Index is a twistedly disjointed electroacoustic epic with lots of sardonic wah-wah, a talkbox, creepy, minimalist piano from Kathleen Supove, sepulchral wisps from James Moore’s guitar and Jennifer Choi’s violin, and a bit of a strolling stalker theme. How to Talk to Your Children About Not Looking at the Eclipse, a chattering solo tableau for Margaret Lancaster’s solo flute, is as ridiculously picturesque as the title suggests.

Freaky faux-operatic spoken word, fragmentary Joseph Kubera piano, flickering bass and lingering vibes from William Winant blend uneasily, sometimes edging toward horror, in Apophenia IV: A Bell in Every Finger. It could be a performance art parody, or maybe everybody just got really stoned before improvising it. Either way, it runs out of gas short of the twelve-minute mark. The album winds up with the five-part suite Fanfares For Modest Accomplishments, played by violin duo String Noise and spanning from chirpy, minimalistic acerbity, to wry conversationality, playfully adrenalizing rollercoaster interludes and a coy false ending.

December 27, 2019 - Posted by | avant garde music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , ,

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