This one surprised me. I am pretty familiar with Haino, but only have heard one other album by Turkish improvising group Konstrukt.
Konstrukt included synthesizers in this line up which gives it an altogether more SciFi feel than their album with Marshall Allen, “Vibrations of the Day”. This is all over the place in a most enjoyable way, ranging from folkish melodies, to full on SciFi freakout, to something that is nearly modern electronic music.
I first encountered Keiji Haino and one of his bands, Fushitsusha, during my great enthusiasm for Japanese culture in the late 1980s and early 1990s. Their records were some of the most brutally overdriven guitar psych freakouts of all time.
The trio Sumac are modern heavy things. But heavy in an arty way, more like say, Swans or The Birthday Party, than Black Sabbath or Iron Maiden.
Listening to this album, one of whose tracks is actually named, “What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy) Pt. 1”, I am most reminded reminded of esoteric 1970s music like The Godz or MC-5, along with The Birthday Party and Swans.
Pounding rhythms, clouds of overdriven guitar, bass guitar that is more of a feeling than a key. All things I enjoy.
Indeed, there are some moments on the track, “I’m Over 137% A Love Junkie And Still It’s Not Enough Pt. 2”, where everything is so amazingly distorted as to be ecstatic.
Lucky I made it to work this morning, and didn’t just sit in the parking lot at the beach with the stereo turned up to 11 and this album on repeat.
Two City Blues 2 by Peter Brötzmann, Keiji Haino, and Jim O’Rourke.
The interesting thing about improv, is, well, sometimes something interesting just doesn’t happen. Which can be interesting, in it’s own uncomfortable way. But… The first, long, track on the second disc of Two City Blues starts with Brötzmann noodling out tones on Tenor, O’Rourke doing his best impression of country slide blues guitar, Haino on Shamisen and his patented shout-sing voice. O’Rourke moves through several guitar strategies, but for the first 15 minutes of this track, the musicians just don’t sound engaged with the music or each other. Fortunately, at around 17 minutes, the energy flow changes, somehow, and they turn it around for a blistering final 35 minutes.
“Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be Transformed” by Nazoranai.
A trio of Oren Ambarchi, Keiji Haino, and Stephen O’Malley. Ambarchi on drums (etc.), Haino on acoustic stringed instruments and electric guitar, O’Malley on Bass.
A single performance, divided into two parts, Haino sticks to acoustic stringed instruments, (violin and hurdy gurdy, I think,) for the first part, building tension. About mid-way through, Ambarchi hits a groove that wouldn’t be out of place on a Can album, and Haino switches to Electric Guitar. Sonic events accumulate, building to a pitch, and then subside.