The Hub | Trucker

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Jazz: Jazz-Rock Jazz: Modern Free Jazz Moods: Type: Experimental
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Trucker

by The Hub

Free jazz meets Death metal where THE HUB is modern hybrid of funk, funk, hard core, jazz, and hip-hop. This instrumental jazz trio does not play tunes that should be listened to on a romantic date.
Genre: Jazz: Jazz-Rock
Release Date: 

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  Song Share Time Download
1. Trucker
THE HUB
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0:31 $0.99
2. Your Welcome
THE HUB
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1:17 $0.99
3. Baby
THE HUB
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1:44 $0.99
4. Tits
THE HUB
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6:52 $0.99
5. Canada
THE HUB
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4:48 $0.99
6. O' Brien
THE HUB
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3:33 $0.99
7. Cash, Ho's, Rides, Kicks
THE HUB
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5:32 $0.99
8. Gypsy
THE HUB
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4:15 $0.99
9. 2991
THE HUB
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6:04 $0.99
10. Burn it Down
THE HUB
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5:31 $0.99
11. Huge
THE HUB
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5:17 $0.99
Available as MP3, MP3 320, and FLAC files.

ABOUT THIS ALBUM


Album Notes
Sean Noonan drums compositions
Tim Dahl bass compositions
Dan Magay saxophone

"THE HUB, with a growing reputation as undiscovered gems, are rapidly developing a dedicated cult following." BBC Radio 3

THE HUB is a band whose appetite for far flung sounds often defies categorization and whose members, Sean Noonan, Tim Dahl, Dan Magay play with the conviction and ferocity of men on a mission. A look at their recent European tour schedule indicates that they could be on the road as often as AC/DC. After initially shocking audiences with their eclectic array of original compositions, THE HUB have earned a loyal fan base worldwide. HUB fans have even been known to travel up to six hours to see them perform.
So who is THE HUB?

Drummer, composer, storyteller Sean Noonan describes himself as an 'Irish griot,’ one who collects tales, legends, and life stories over the course of his journeys and transforms them into the raw material that informs not only his drumming, but the entirety of the music he creates; as if Samuel Beckett were on drums.

In 1999 Sean Noonan first came to the public’s attention as the drummer of The HUB, one of several bands that emerged as the next generation of cutting edge music from the Brooklyn underground scene. Since the birth of his band Brewed by Noon, Noonan has created original musical concepts from Afro-Celtic Punk-Jazz to composing downtown avant-garde chamber music and improvising stories from his drum set.

June 2014, Noonan released Pavees Dance: There’s Always the Night, his 19th release since 1999 and is Sean Noonan's latest endeavor to cook up a distinctive brew of original compositions with a selection of lyrics by Noonan and the infamous singer, poet and visual artist Malcolm Mooney, who draws from his earlier years with Can to the present.

From Brockton, Massachusetts the “City of Champions” and Rocky Marciano, Noonan is a Berklee College graduate in Music Education and Masters in Music Composition from the Aaron Copland Music School, Noonan is a longtime veteran of both aforementioned musical styles. He has played with both Aram Bajakian in Chips and with the jazz-punk trio, THE HUB. After recovering from a near-fatal car wreck in Italy during 2003, Noonan decided his next project would combine his two musical loves of Jazz and African rhythms.

Brewed by Noon - "Tribal rhythms by an Irish griot" is how Noonan describes his previous project. "Griot" describes a West African poet, praise singer, and wandering musician. Combining progressive jazz (Weather Report and Miles Davis [Bitches Brew era]), African tribal rhythms and stories (Fela Kuti and Paul Simon's Graceland) mixed with some Irish lyrics and attitude and you have the basis for Brewed By Noon.

As a composer, drummer, producer and storyteller, Noonan is unafraid to take risks with his creative output. He has developed distinctive concepts, such as working with an amplified string quartet on his 2012 Songlines release, A Gambler’s Hand. On that album, Noonan presents his ongoing interest in treating the strings as an extension of the drum set. His inspirations combine the aesthetics of modern chamber music, improvised new music, storytelling and experimentalists ranging from Henry Cowell to John Zorn.

While A Gambler’s Hand owes much of its inspiration to the string quartet tradition of Beethoven and Bartok in particular, Noonan’s songwriting then as now is rooted in literature and folklore - ancient invocations, cautionary tales and psychedelic nightmares – collected from experience and various cultures and retold from the perspective of a 21st century Irish-American punk/jazz downtown New Yorker who’d fallen in love with storytelling and African music.

"Maniacally exhilarating, gripping in its precision and energy, a real breath of fresh air." John Fordham - The Guardian (U.K)

THE HUB is creating a new movement in jazz joining diverse music listeners from the hard core/metal, punk, new music, and electronic music scenes.
Their latest album release "Trucker" is another existential leap that is described as,

"Clearly a totally new form of music with an aggressive heavy metal touch belied by a jazz sensibility and control." Jeremy Hurewitz - Prague Post

"Trucker" comes straight out of the Brooklyn underground music scene where they create a sonic amalgam of hip-hop, hardcore, punk, funk, and freeform jazz improvisation. All of these modes lead to music with originality . "Trucker" is now available in record stores worldwide providing an irresistible force for progressive music listeners everywhere. For more information contact seanatthehub@yahoo.com


Reviews


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The Guardian

THE HUB invade the stage like naughty school children, taking up their instrumen
THE HUB Wardrobe, Leeds
The Guardian, UK, May 9, 2001

James Griffiths
**** out of *****

New York three-piece THE HUB invade the stage like naughty school children, taking up their instruments with manic glee before making the most shocking racket ever played under the name of jazz.

Tim Dahl starts as he means to go on, his bass guitar making obscene belching noises, while Sean Noonan’s snare drum cracks like a revolver going off. Dan Magay on saxophone somehow holds his own amid the maelstrom, curling his sinewy lines that refuse to be intimidated. The band’s music is probably best described as free jazz meets death metal inside the blades of a combine harvester. There is an illusion of chaos-but the presence of sheet music and the expressions of fierce concentration give the game away. This is tightly disclipined composition, the comical stops and starts having been meticulously rehearsed.

The musicians perform with such wild abandon that their antics resemble performance art. Behind the drums, Noonan contorts his body jerking spasmodically as if he’s just stuck his fingers in an electric light socket. He has an extremely unorthodox approach, waving his limbs about in a manner guaranteed to horrify jazz purists, and he occasionally attacks his cymbals in mock rage.

After an hour and a half of this preposterously fiddly noise, your ears start to tire. Just how entertaining the HUB’s music would be with out the fun of actually watching them play is open to question, although they will have no difficulty in cornering the musical masochist market.

Tonight, they remain scintillating and almost frighteningly intense. Everyone laughs when Tim Dahl gleefully announces that the band intend to smash up their hotel rooms after the gig, but it is surprisingly easy to believe him.

DJ Johnson

Often disjointed and jolting, their music can also dissolve into moments of calm
The publicity photo of The Hub, if seen without their music playing for context, would lead one to believe they are a metal band of one form or another, probably thrash. Two of them have their faces hidden by long, disheveled hair, and the third is wearing a Boston Celtics jersey. Okay, that has nothing to do with anything, but I couldn't leave him out of the conversation. The thing about The Hub, though, is they don't play thrash metal, death metal, precious metal or any other kind of metal, though at times there's an inclination, due to the attitude, tone and crunch in a song, to call their music avant-gardgebanger.

Yes, The Hub are definitely advanced musicians, playing compositions that draw on jazz, funk, and several sub genres of rock. Often disjointed and jolting, their music can also dissolve into moments of calming beauty - just before hitting the gas and spinning out onto the wide open highway once again, where you never know what to expect. Drummer Sean Noonan lays down the tracks without a map, or so it seems to the listener, rarely playing it particularly subtly, a move that would be a big mistake guaranteeing he'd be lost in the mix under the absolutely monstrous sound of bassist Tim Dahl, who is not - I repeat, not - using an acoustic bass here. It's electric, often distorted, and LOUD! Noonan and Dahl are brilliant together on these 11 compositions, which are their own. They write alone, and the tally is Dahl 7, Noonan 4.

That leaves one non-writing member of the band. Dan Magay's alto sax work is not only up to snuff, it snags your imagination and makes you forget everything around you except the music. The guy's dynamite. First string. Some of the pieces call for rather simple honking, or more like seemingly simple honking, which will last a minute or so while Dahl or Noonan lays down something worthy of careful study. Then, when you've forgotten all about Magay, the guy takes off like a terrified, electrified swallow, painting notes in places you weren't expecting to hear them. It's fun stuff for the avant-garde fan, and good material to show someone you're trying to turn on to avant-garde, because the timing of most of the songs seems to be 4/4, a rarity in this kind of music and a miracle when it works so well. What I want now, besides more CDs, is more information. Precious little info shows up on the Net, and I want to keep a close eye on this trio. Hey, a band with music this exciting, unusual and explosive doesn't come around every day, you know?