Riot Material

Art. Word. Thought.

Anthony Braxton’s Accessibly Antithetical Quartet (New Haven) 2014

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on Firehouse 12 Records
Reviewed by John Payne

This monumental four-CD box set photographs the one-time meeting of an avant all-star and super-like-minded foursome: The infamously abstruse saxophonist and conceptualist Anthony Braxton partnered with Nels Cline (guitar), Greg Saunier (drums) and Taylor Ho Bynum (brass). It is music that, because of the heavily theoretical predilections of its “bandleader,” might suggest a sound that reeks of a dry formality. It doesn’t. It does present a number of issues and questions. [Read more…]

Amon Tobin’s Fear in a Handful of Dust

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on Nomark

Reviewed by John Payne

On the occasions when he drops a new platter, the veteran producer/DJ-composer Amon Tobin can always be counted on to raise the sonic-magic bar several notches. From his early found-sounds ‘n’ beats productions such as Bricolage (1997), Permutation (1998), the magnificent Supermodified (2000) and Out From Out Where (2002), he progressed to things like Foley Room (2007), which explored the role of sound design and field recordings, and ISAM (2011), the titular acronym referring to “Invented Sound Applied to Music” and in which Tobin utilized advanced synthesis processing and production techniques traditionally reserved for sound design in film.  [Read more…]

Matthew Shipp Trio’s Signature

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on ESP-Disk’

Reviewed by John Payne

The rather prolific Matthew Shipp is the most relevant jazz pianist of the last few decades. With more than 85 releases of bold ‘n’ brave music as a solo performer and in duo/ trio/quartet formats alongside the avantish jazz likes of the David S. Ware Quartet, Ivo Perelman, Sabir Mateen, Darius Jones, Joe Morris, Jemeel Moondoc, Mat Walerian and two tons of others, he hasn’t had time to take a vacation. Several years ago Shipp told me he was thinking of retiring from recording, because, he said, there was just too much music out there in consumer land. I’m glad he didn’t, because his recorded output since spouting such balderdash has only grown more profound — and truly electrifying. [Read more…]

The Literal Sounds Of Plastic On Matmos’s Plastic Anniversary

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Thrill Jockey
Reviewed by John Payne

In music, in general, combining high conceptual aims with what we call accessibility (a troublesome concept on its own) is not an easy thing to pull off. My no doubt annoyingly subjective list of musicians who’ve achieved a balancing in this equation (ear-friendliness + modernity) would include, say, Robert Wyatt, Lee “Scratch” Perry, Jon Hassell, Holger Czukay, Ryuichi Sakamoto, Terje Rypdal, Annette Peacock, Diamanda Galás, Coil and the Velvet Underground. This varied bunch shares the notion of basing the work on musical or thematic ideas, and in so doing not skimping on the soul; the goal is a kind of beauty. [Read more…]

Xiu Xiu’s Girl With Basket of Fruit

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on Polyvinyl
Reviewed by John Payne

This all by way of passing comment on the challenging Xiu Xiu, never an easy thing to do. A couple of years ago I talked to the band’s main male Jamie Stewart. He was forthcoming and amenable, not a difficult artiste, and he talked about what he does with a seriousness that I liked very much. He thinks he’s a cranky, pretentious arsehole, but I don’t. Anyway, I do think it’s interesting that Stewart’s openly human persona doesn’t always reconcile with the often sonically and lyrically traumatized music he makes. There is some backstory: He told me about his father, a drug addict who died by suicide. It’s hard for me now to not project a lot of liteweight pop psychology upon Stewart’s musical madness. Like, a-ha [Read more…]

Expansive New Work From The Necks: Body

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on Northern Spy Records

Reviewed by John Payne

The Necks: Body (reviewed at Riot Material magazine)How to better classify an improvisational unit such as the Necks? Since the Australian trio perform their music on instruments associated with jazz — acoustic piano, double bass and drums — they tease us with whether or not they ought to be aligned with the severely rule-bound world of jazz at all. Whatever the case, it is hugely satisfying to hear the group’s lack of reverence for the form’s many hallowed conventions. With a healthy, punky boredom about all that, the Necks poke all ye olde shopworn swinging jazz a certifiably new bumhole. [Read more…]

Yoko Ono’s Incomparable Warzone

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Reviewed by John Payne

A sort of a disclaimer here: I’ve known Yoko Ono for many years, or at least had the pleasure of interviewing her several times, as I have her son Sean. I like both of them very much. I’ve checked them out on different levels, tried to cut through any of the potential typical self-self-self-hyping showbiz bullshit or what have you, and they passed the tests with flying colors. They are real people, with good hearts and minds. (You’ll just have to trust me on that.) Thus my understanding of and sympathy for Yoko Ono colors my critical soul a little bit, I don’t mind saying it. I want to approve and feel enthusiasm about her music; this means I’m open to it. And I do feel that Ono’s latest and, one hopes, not final record,Warzone — a collection of 13 songs from her past work, spanning 1970-2009 — is the best album of her career. It is deep, and moving, unlike anything I’ve heard in a long time, and perhaps never have heard before. [Read more…]

Jon Hassell’s Listening to Pictures (Pentimento Volume 1)

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Reviewed by John Payne

One perhaps unusual compliment we ought to pay to Jon Hassell’s new Listening to Pictures (Pentimento Volume 1) is that, like all of his music, one grows impatient having to write about it while listening to it. This music — which I want to never end when I put it on — is too seductive to be looking at a computer screen while trying to come to terms with its intriguing charms. [Read more…]

Wajatta’s Wickedly Funky (And Fun!) Casual High Technology

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on Comedy Dynamics
Reviewed by John Payne

As a way of potentially creating something genuinely new, or at least surprising, the time-honored but perhaps neglected artistic scheme of melding or juxtaposing multiple dissimilar aesthetic beliefs or conceptual visions in order to birth a third entity, independent of its parents’ genetics, might be the best way to describe the resonant thrills encoded within the grooves of Wajatta’s debut album. [Read more…]