Un demente, ottimo; piacere.
author: Marco Carcasi
Dennis Palmer e Bob Stagner ( synth, drum samples e moggerfoogers per il primo, batteria e non solo per il secondo) sono i due componenti dei Shaking Ray Lewis, due disadattati che risultano essere il primo gruppo americano ad incidere per l'europea (radicale e storica) Incus Records.
Bel biglietto da visita; nulla da dire.
Accompagnati dal musicista di Athens Killick Erik Hinds (h'arpeggione si chiama il suo strumento); ci danno ora una bella cinquina a mano aperta sulla faccia.
“A.S.A.P. Wings” è un bel terremoto improvvisativo registrato dal vivo nel 2006 ad Atlanta, 50 minuti di straniante flusso sonoro tempestoso, materiale ironico ed incandescente; un raw sound di microtonale gloria (quasi).
Follia dentro tanta, cingolato fuori controllo che si barcamena fra marosi d'improbabile post, ma proprio post; moderno revivalismo.
Schegge rock (ma potrebbe esser anche metal), cadenze elettroniche sgretolate ed urticanti, corrosiva ironia, accenni vocali d'improponibile blues combusto; tutto e di più.
Anche una cover dei Residents notevolmente out.
Che altro aggiungere?
Che il risultato finale si pone in un'improbabile quanto auspicata terra di nessuno, un equamente bilanciata materia bruta che ingloba schizzi Primus degli esordi, velenosi umori Residents, geometrie di h'arpeggione degne dei Carbon di Elliott Sharp; una delizia per orecchie primitivamente evolute dunque.
Sei sputi in faccia al pubblico plaudente (avremmo voluto esserci!), astrusità strumentali sempre in bilico dello sfascio generale, biascicamenti dementi (in apparenza); Slayer alle prese con un mal di stomaco da troppa birra.
Che poi gira che ti rigira, d'obbligo rimescolar le carte e tirar fuori dal cilindro l'ennesimo, ipotetico punto di contatto; Derek Bailey e le sue traiettorie sghembe di corde.
Bushy Briers travalica il perimetro della sanità mentale abbandonandosi a politiche (polemiche) considerazioni sul presidente americano, un'infausta attrattiva, Dog Descending decompone dall'interno una pacata melodia di synth che avrebbe potuto appartenere ai Kraftwerk; infame anche questa nella sua dissolutezza.
L'incubica cover di Red Rider; realmente oltre.
Infamia allo stato puro; vera ed eccitante.
Che poi lo si voglia considerare evoluzione extra corporea di hillbilly primitivamente randellato non è poi cosi distante dalla realtà.
Autenticamente febbricitante; entusiasmante a tratti.
“A.S.A.P. Wings” ripone l'accento sull'elettricità e le sue conseguenze.
Musica rurale d'insieme.
Una pietra angolare sfracellata sul coppino.
Un demente, ottimo; piacere.
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They should jam with the Martians on their land and play gigs there.
author: Mikolaj 'Nicolo' Furmankiewicz
Aforesaid album is a live debut of the trio made up of Killick Erik Hinds (H'arpeggione), Dennis J. Palmer (synthesizers, drum samples, moogerfoogers) and Bob Stagner a.k.a. the Shaking Ray Levis (drums & found objects). The stuff was recorded on May 26th (2006) at Eyedrum, Atlanta, Georgia. Obviously, it wasn't his first meeting on stage, because they have also recorded and performed with John Zorn, David Greenberg, Derek Bailey and many others.
I have read that musicians describe their music as "a juggernaut, a whale of a hoot and post-post modern revivalism". What a terminological inventiveness! But what about music itself? Wow, when Ornette Coleman offered us his free jazz concept, he couldn't realize that there would be founded such unorthodox jazz combos like the Hinds/Palmer/Stagner trio for instance, haha. What should you expect from them? Undoubtedly, twisted tones out of synthesizers, sound quarrels, distortions, short circuits, sonic confusion, dissonant and temporarily cacophonous creatures here and there. It isn't an usual jazz improvisation, but rather an instrumental prank full of crazy, chaotic, trance and cranky music, haha. I can merely hear a little unidentified tonal objects, haha. Yeah, this stuff makes us think.
I am absolutely convinced that they aren't normal people who ordinarily buy rolls every morning and come back home after 8 a.m.-4 p.m. work, haha. They are rather extraterrestrials leading the virtuosic avantgarde in the 21st century! You can believe me or not, but abnormality is normality here, haha. Let's look at release's freaky cover to understand what I am writing about. What shall I do with this hazardous music? I admit that all of them are totally proficient at their instruments, but I must also admit that their music is both musically and politically incorrect, haha. Let me think over the stuff and decide on these incorrigible instrumentalists' lot. I got it! I have to contact the NASA crew and find out the Discoveries' departure times in order to send them to another dimension. They should jam with the Martians on their land and play gigs there. It is possible that terrestrials could put so many ideas into Martians' heads that they probably could go crazy, haha. The trio must be safe and sound, so better not risk their precious lives. Let them stay on Earth and mentally and instrumentally torture us with the little unidentified flying, uuups, playing objects, haha!
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Props to these madmen for managing to come up with a new sound...
author: RKF
Killick Erik Hinds is the swell dude who covered Slayer's REIGN IN BLOOD using his "devil cello" (the H'arpeggione, an upright microtonal cello); Dennis Palmer and Bob Stagner are a couple of eccentrics from Chattanooga, TN who combine radical synth abuse and peculiar ideas about drumming to create a bizarre and hyperactive rhythm section (although their ideas about rhythm are pretty devolved). Together they perform as the Shaking Ray Levis, and they performed and / or collaborated with the likes of Fred Frith, Amy Denio, John Zorn, Min Tanaka, Susan Alcorn, and Derek Bailey, among others, so right away you know it's going to be out-there, right? And it is, buddy, it is. Combining elements of blues (especially in the singing, an elemental blues howl from way back when the blues was an outlaw sound), improv, and microtonal theory, they often sound like a blues band who've had too much moonshine to drink and have given up on the audience entirely in favor of descending into purely strange skronk-jams (this is a live album, by the way, not that it really matters one way or the other). On the six tracks here, they have a tendency to start out in a halfway normal fashion, but by the time any given piece finishes, they've thrown themselves into a fury of microtonal noise and demented drumming with complete abandon, sounding like possessed men playing the devil's music in the most discordant and jarring fashion possible. This is an inspired meeting of the old and the new that works better than you'd have any right to expect (although I have to wonder what the audience made of it). At times they approach sounding like an even more unholy and intense version of the early Butthole Surfers, although they don't engage in bullhorn-fu; at other times they sound like a lounge band gone completely around the bend. In between they whip up some truly exotic-sounding jams, with the singer adding a particularly eccentric touch to the proceedings, rambling and shouting like the second coming of Roky Erickson or a low-rent Gibby Haynes. For all of that, the music (and it is music, no matter how loose and freewheeling they get) is compelling, even enjoyably amusing at times. Props to these madmen for managing to come up with a new sound just when it looked like everything had been done to death, and bonus points for the swank and highly colorful digipak art.
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an extremely rewarding listening experience
author: Ryan Sparks
Also known as The Shaking Ray Levis, A.S.A.P. Wings is the first release from the improvisational trio of Killick Erik Hinds (h’arpeggione), Dennis Palmer (synth, moog and samples) and Bob Stagner (drums and found objects). They have performed with the likes of such musical heavyweights as John Zorn, Fred Firth and the late Derek Bailey to name just a few over the course of their career and this fantastic disc of improvised music was captured live at Eyedrum in Atlanta last year. The music performed here is pretty difficult to categorize as all sorts of sounds and styles get thrown into their veritable melting pot but it all makes for an extremely rewarding listening experience. Hinds gets some terrific sounds out of his h’arpeggione which is a cello like, upright acoustic instrument with twelve strings. Likewise both Palmer with his hillbilly vocal delivery and assorted electronic textures and Stagner with his contributions behind the kit provide plenty of fireworks as well. Bordering at times on becoming one big discordant nightmare, the music constantly teeters on the edge of impending collapse yet the trio always manages to rein things in just in time. It must be fascinating and extremely liberating to be able to walk the musical tightrope without any trepidation as well as they do here and A.S.A.P. Wings conveys this message loud and clear to the listener. The cover of “Red Rider” by The Residents adds a nice touch to what ultimately is a very enriching and daring set of music.
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