LM5 (...the lily maase quintet...) | aftermath

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Jazz: Jazz Fusion Avant Garde: Mixed Media Moods: Type: Experimental
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aftermath

by LM5 (...the lily maase quintet...)

This is a record that tells a story. Well, two stories, but one of them is about a robot.
Genre: Jazz: Jazz Fusion
Release Date: 

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1. my five wives
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14:23 $0.99
2. even ash will linger
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8:50 $0.99
3. ...in threes...
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10:31 $0.99
4. A body in motion... (self portrait)
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9:55 $0.99
5. How much for the electric ostrich?
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11:35 $0.99
6. Nexus 6
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9:44 $0.99
7. Baty's Last Stand
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7:28 $0.99
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ABOUT THIS ALBUM


Album Notes
About Lily:

Guitarist, composer and mixed media artist Lily Maase splits her creative life between Brooklyn and Montreal. When in Brooklyn, she writes for and performs with her acclaimed quintet, theSuiteUnraveling, recently dubbed “seriously remarkable new music” by the Weekly Alibi; collaborates with some of New York’s top-call improvisers (Walter Thompson, Cadmium Lace, Brooklyn Soundpainting Orchestra, ZAHA); tours nationally with all-girl jazz sensations the Lascivious Biddes; and dreams up large-scale mixed media projects for video, double quintet, laptop and beyond (hall.of.mirrors, CAVE 2006; re:Disconnect, Roulette 2006). When in Montreal, she writes for and performs with art-rock experimentors Life Without Robots and plays regularly with percussionist Ivan Bamford. Lily is a graduate of the University of North Texas’s esteemed jazz studies program, a founding member of the Addtract Consortium, and is endorsed by Godin guitars.

Press:

"Aftermath is a superior effort by a very talented composer."
-Budd Kopman, allaboutjazz.com.

"Free-form jazz that [builds] groove and texture without getting cheesy. Maase's guitarwork...[strikes] an impressive balance between improv and restraint."
Sam Machkovech, the Dallas Observer

"If you have seen her live, or heard her recordings, I hope you have realized what a treasure Lily is."
-David West, the Denton Record Chronicle

About the music:
Aftermath is the product of a full year of writing, rehearsing, and recording two musical series for jazz quintet and electronics. The four pieces in the first series are unified by an electronic loop, and it is the difference in harmonic and improvisational interactions with this loop that paint a picture of the journey we must all make through the process of self-discovery.

The second series, "Lullabye for the electric shepherd: sounds for Philip K. Dick," is an exploration of some of the conceptual material from the classic movie Blade Runner. Within this suite, we explore the relationship between man and machine, going so far as to use graphic notation to "program" the band to respond to melodic and harmonic material in different ways.

Thanks for listening,
Lily and the LM5


Reviews


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Dallas Observer


...free-form jazz that [builds] groove and texture without getting cheesy. Masse's guitarwork. . . [strikes] an impressive balance between improv and restraint

Budd Kopman

If you can let yourself be taken away by this music, it might just transport you
The LM5 would absolutely mesmerize a live audience with this unique music. Even if Maase isn't the mistress of guitar chops (at least on this record), her originality of conception is engrossing in the way the music ebbs and flows to create an overall sound. If you can let yourself be taken away by this music, it might just transport you to another universe (maybe that of Philip K. Dick; see below). As Kali Fasteau once counseled me, “Turn the lights down, turn the volume up, and see how the music makes you feel.”

The first four tracks, grouped as “The Aftermath Series,” comprise an autobiography. Each is surrounded by an electronic sound loop from which the music emerges and into which it disappears. “My Five Wives” is characterized by a heavy bass vamp and features some good lines by trumpeter Mike Maher. “Even Ash Will Linger” is plaintive and full of melancholy, ending with a processed guitar line that sinks into the electronica, only to shift gears entirely with the driving “…In Threes…,” where Maase plays the most guitar thus far, contrasted with a calmer middle section using keyboards. “A Body in Motion … (self portrait)” has many different sections which are tied together by an audible harmony or tonal center.

The last three tracks form the suite “Lullabye for the Electronic Shepherd (sounds for Philip K. Dick),” but again, you do not have to have read any of Dick's science fiction to get into the music. Mulholland’s chops on bass are featured on “How much for the Electric Ostrich”; “Nexus 6” revolves around a guitar line where the note groups clash with the meter; and “Baty’s Last Stand” is built from a poignant, simple theme.

In the end, all the description in the world can sometimes be meaningless. Maase uses all the instruments here to create her unique sound, creating and releasing tension; you just have to listen for yourself. Aftermath is a superior effort by a very talented composer.