What is there to say about the endless parade of experimental improv, about all the sound art, about the non-stop running tap of field sound and the rest of it? I’m sure Issue fourteen of Organ was a sound collage tape with a hand made collage for a cover but that was the last century and it confused rather than confounded, we have all been there. Spoken word? This is British wartime or British Rail or something along those line or maybe completely different lines? Sun leaving by the back door? Track the perimeter? What are we to do with it all? More importantly what are we to say about it all, the never ending parade of sound art, improv, experimental sound, the legal order of tight-knit men who rush for cover, is that you David? Is this what electricity is for? Machines? I’m sure I had some sandpaper here somewhere? What to do with it all (and that’s before we get to the nine CD John Wetton box set that just landed on our doorstep and all the other more structured music that lands here and demands thankless time and effort). What is there to say about the endless parade of experimental improv and there is no time and I need to varnish this painting so it can be sent off to Düsseldorf, my paintings go to far more interesting places than I ever do…

McClure and Whyte Farming – This one sounds and feels bleak at times, not all lthe time, there is blood on the floorboards though, it smell different, drink your fill boy, ice pops, many colours, the hay shed speaks, hey, what is there to say? Meat your mother? This is mostly a spoken work concept album, an album beautifully coloured by subtle gentle folk-like instrumentation, with field sound, with minimalist interplay and lighthouse light going by, that and a skull that might grow if the little girl waters it? But what can be said about this other than to just cherry pick and say hey, you, come here, listen to this one, this is a good one? A light Scottish air, an intrigue…

“A saga of horrors and revulsion fables. Exploring the mythic relationships between the human animal and mud fork. Do the animals control the farm? Does the machinery choose the job? Farm or be farmed? McClure’s words unlock and provoke in preparation for Whyte’s wild and dangerous soundscape”.

And now that the can of worms has been opened again…

This is a first taste of the third release by Trevor Dunn (Mr. Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length album Last Days at Hot Slit. We can hear nothing but the first track right now, it does have us kind of interested though…

We’re told the songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus in the shape of Devil Woman. “The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism”.

“Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack-like excursions, to jazz/blues mutations to a demented “rock” sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis’s raw, unconventional bass recordings. “I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything,” Rutmanis shares. “What he sent back was something like delicious fresh cherries with ice and banana slices.” The pair’s combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin”. 

Meanwhile… “Improv To Improve is a series of unique free extemporized solo jams recorded direct to found cassette, something by Oliver William Olivers

Each one of a kind object also features a card cover screen printed by Bathtub printing, a motivational sticker and free download of the series sampler.

Performances may feature galvanic guitar, cosmic synth work, field recordings and any other inspirational materials”.

Bandcamp

Back to Mr Dunn….

Dunn with Rutmanis – Crackpot Whorehead – Two pieces of music, around 35 minutes of music and well, “Tapes, synths, guitars,basses, drumm masheens, and real drums….What do you want from us?” so said Gina Skwoz. I didn’t get where I am today by quoting Gina Akwoz or listening to a Mr Bungle play some kind of improv driven whatever it might be. It all feels a tiny bit disturbed although those are some nice drums that kick in after ten minutes and forty-three seconds – “shut that goddamn thing off” – neat rhythm, don’t stop… Bandcamp

Did listen to something else by Lords and Lady Kevin but the line has to drawn somewhere and they were on the wrong side of it…