Music

Music by the BSC (with Pauline Oliveros)
Book edited by Bhob Rainey with contributions from Damon Krukowski, Aaron P. Tate, Ben Hall, and Mike Bullock
3 tracks, 65’30″ 
Hardcover and Paperback with Lossless Download: 5.8125″ x 8.25″, 112 pages 
Published by NO Books

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(Also available as a music-only release — just select "Digital Album")

Manual is a combination full-length album and book focusing on the music and improvisational practice of the BSC, an eight-member electroacoustic ensemble formed by saxophonist and composer Bhob Rainey in 2000. More than just music with copious liner notes, Manual examines the process of improvisation from both within and outside the BSC, encountering topics ranging from genealogy to architecture, the boundaries of sense to the benefits of failure, flows of energy to bouts of guilt. The intersection and unfolding of ideas is often complex, but the writing in Manual is earthy and comprehensible, keeping jargon to a minimum without sacrificing the depth of the subject matter. Manual is not a monument to the BSC but rather an appreciation of improvisation from the perspective of an especially prolific community.

The music portion of Manual consists of three extended improvisations covering a six-year period in the BSC’s history. The most recent piece, a vividly captured concert highlighting some of the more elegant aspects of the BSC’s unique musical lexicon, was recorded in 2009 and includes renowned composer Pauline Oliveros on accordion. The earliest piece was recorded in November 2003 at the end of The BSC’s only extended tour and contains some of the noisiest, most unhinged work the ensemble has ever released. 2007′s “23% Bicycle and/or Ribbons of the Natural Order”, recorded in Somerville, MA, provides a balance between the other two tracks, illustrating the BSC’s strong formal control amidst chaotic conflagrations of feedback, tape degeneration, and general instrumental instability. Stage plots and recording notes are included for each track.

The book portion of Manual contains contributions from five writers. Bhob Rainey (director and founder of the BSC) provides an introduction in which he engages with the book’s other contributors while reflecting on failure, adaptable dispositions, and the upside to being oblique. Damon Krukowski (musician, poet, half of Damon & Naomi, one-third of Galaxie 500, and one-fourth of Magic Hour) contributes a series of prose poems aimed at evoking certain effects the BSC’s music has on him. Aaron P. Tate (classicist at Cornell University whose areas include ancient and contemporary improvisation), through extensive research and interviews, pieces together and examines the BSC’s early history and rehearsal practices. Tate uses this information, along with recorded documentation, to approach the music with great insight from a dynamic, open-ended perspective. Ben Hall (percussionist, gospel archivist, and restaurateur) unravels ideas about genealogy, community, politics, and authority as they present themselves in the tradition from which the BSC emerges. And Mike Bullock (audio/visual artist and bassist for the BSC) develops two metaphors for evaluating music like that of the BSC, applying these metaphors to an analysis of the 2009 performance with Pauline Oliveros featured in this release.

Recorded in Austin and Marfa, TX, and inspired by the gorgeous desolation of the high plains desert, this is music of exquisite, simmering beauty.

In 2010, after years of friendship and musical intersections frequently revolving around Austin's No Idea Festival, Chris Cogburn brought this trio together for concerts in Texas and Mexico, supported by the Meet the Composer Foundation and USArtists International. Arena Ladridos (roughly, "Barking Sand") captures the intensity, intimacy, and adventurousness of these strong-minded musicians as they methodically bleed this music into existence.

Tracks:

Govalle (26'02")

Marfa (23'07")

Lossless download is $3 (or more, if you like).

The motive behind improvising with new players is frequently to find a new music in yourself. Sometimes, this new music is found in a struggle, where opposing approaches attempt to meet in a play between power and tolerance. More rarely, the new voice simply causes the music to appear - no struggle, all play. The music happens to you, and you just stay out of its way.

When Nmperign met with Jake Meginsky, the music happened to us. Participation was pure joy. Even with long silences and sudden changes, there was always the sense of being carried by a purposeful force. For me, this single, 14-minute piece conveys that force. I couldn't imagine it surrounded by other music. It warrants its own platter; a single object for a singular moment. I hope you enjoy it.

All LP purchases come with a download code for the lossless file, which can also be purchased separately for $3 (or more).

From the label:

REL012 is the recorded debut of the trio Nmperign with Jake Meginsky. Pressed on 160 gram copper plate mastered vinyl, REL012 features Nmperign in an energized, turn-on-a-dime form. Prodded by Meginsky into unnamable, angular textures, the trio is agile and unpredictable, occupying musical extremes with intelligence and grace. REL012 is a one-sided LP cut to 45 for Maximum Dynamic range. Featuring a striking cover, designed by Eli Keszler, printed by Ashley Paul. A light blue fold-over paper is integrated in to a heavy picture disc sleeve, labeled with a color sticker. Screened notes are featured on the inside. REL012 is a one-time, hand-numbered edition of 300 copies.

Listen on Last.fm

Nmperign contributed a track to this beautiful CD/LP to benefit Darfur.

Order directly from Tiny Mix Tapes: http://www.tinymixtapes.com/FOR-SALE-Tiny-Mix-Tapes-Vol-1

In the mid-1800s, Adolphe Sax set out to create what would essentially be a loud-ass clarinet. At least, "loud" was the dominant criterion. He apparently liked military bands and wanted some blaring (and portable) woodwind to enter the ranks. Of course, he also produced "classical" models of his invention, but, according to rumors, a rather vindictive German composer who had a beef with Sax conspired to keep the instrument away from the European canon. I'm inclined to think that the uncontrolled squawking sound contributed as much to this phenomenon as did the putative conspiracy. In any case, the classical models grew quite rare early in the instrument's history.

We all know by now that the saxophone found another home in popular music, which, for a time, was called Jazz. Its strident sound sat very well on top of all manner of percussion, and in the hands of some masterful players, that baby could really cry. And it cried and whispered and sang and screamed... and so much of that still sounds just fantastic and so un-marching band-like that who knows which way the old Belgian is twisting in his grave. But you have to admit that sometimes the crying sounds as if at least one teary eye is gazing towards an Oscar. And everyone knows to regard that coquettish whisper with some suspicion. The sax rarely takes off its performance face.

Still, you might sometime happen upon a stubbly one, alone, hunched over the bar. You're friendly, and it responds politely enough, if a bit distant. The conversation seems bound for nowhere, but a silent gulf, and this late hour, opens into a stammering confession. The sax is talking to no one in particular, using names and mentioning details you could never know about; not exactly making sense, but conveying a kind of hurt - the kind we're better off having trouble expressing. You get it. You know it's a proud hurt, one you wouldn't want to lose but rarely want to show. You want to be the nameless consolation the sax is seeking as much as you want the sax to be too drunk to remember you tomorrow. For now, you're helping each other, and it's going to be okay even if it never changes because it's been okay before, even great, and it hadn't changed then, either, did it? So you cut the guy a mile of slack and just listen. And one little world disappears, so that the other just hovers for a while.

Chris Forsyth at Evolving Ear originally asked me to do an 8" lathe cut for his label.  I was hesitant for a number of reasons, not the least of which was that I had already consigned a number of pieces to the format fetish void (a 3" CDr, a split LP, download only, etc).  Still, I gave it some thought.  I had been working on a number of complex, large-scale pieces, some with Ralf Wehowsky, some for dance and film, others to who knows what ends, and I began to feel that the time and conceptual constraints of a "single" might be refreshing.  I convinced Chris to let me do a 7" instead of a lathe cut (I didn't need to go THAT lo-fi), and I set about making two formally related pieces with clear, simple trajectories; pop songs from a broken mind.  And that's sort of how it went.  The two sides of this release, "A Desert of Consolation" and "The Summering Unsound", both follow a singular form: an ambiguously intensifying exposition followed by an unfolding of previously hidden elements.  The materials, however, could not be more different:  "A Desert of Consolation" consists almost entirely of synthetic sounds lying in a narrow frequency band, while "The Summering Unsound" is made up of a good deal of untreated field recordings, beats, and broadband noise.  And, though I followed my dictum of simplicity in the pieces' trajectories, I couldn't stop myself from piling a lot of layers into the mix.  So, there's a simple, if perverse, horizontal unfolding, and a morass of detail vertically.  Kinda like a nice pile of fall leaves with a rake and skeleton hidden inside.  I should also mention that artist Elaine Kaufmann made the beautiful, hallucinatory covers for this release.  No photo would do them justice, as they play with real light in a way that's difficult to describe or reproduce.

The highly anticipated double-CD epic by Jason Lescalleet (tape loops) and nmperign (Bhob Rainey - soprano sax, and Greg Kelley - trumpet). The result of six years of live and studio collaboration, LM2X is by far the most ambitious and uncompromising statement yet by this formidable trio. The album begins simply enough with an ominous trio track, but don't get too comfortable... over the course of the next two hours, the ground steadily shifts, the bottom drops out, and any expectations a listener may have had going in are thoroughly trampled. Fans will find the usual ingredients here: crusty old reel-to-reel tape decks, cheap keyboards, amplified and acoustic horns...but rude tape splices, violent humor, and confusingly degraded fidelity push the music far from safe territory. The visceral drama of LM2X does not neatly spell out its intentions, nor does it signal exactly what it has up its sleeve. It exists in its own universe, demands repeat listens and to be taken on its own terms.

In 2000, Greg Kelley and Bhob Rainey made their first trip to Europe as Nmperign. One stop was Kule in Berlin, where they played a show and stayed for five days in the apartment building that, at that time, held Axel Dörner and Andrea Neumann. The plans for the Thanks, Cash tour with Axel and Andrea were hatched at this time, but there was also an informal quartet session with Axel and Burkhard Beins that produced a series of song-like pieces that were unlike anything these musicians had done previously. Twisted Village released the music on LP, which sold out rather quickly. Still, the album is continually regarded as a seminal EAI recording, and so it is presented here, beautifully remastered in its original, full-resolution format.

Recorded on the road in various rooms in early 2000, 6 Standing Desert remains Rainey's most raw and exploratory solo work. A long middle section pushing every sonic nook and cranny the saxophone has to offer is surrounded by mic-bleeing microtonal melodies sounding both urgent and somehow natural. Remastered for girth and warmth with plenty of rawness left in.

nmperign never knew that they would be a duo, but they sure were happy with it when these recordings came up.  Three duo pieces make up the bulk of the CD and introduce the sparse-lush-angular question mark that was to become the nmperign signature.  Meanwhile, they met Jason Lescalleet and did a noise track that negates any possible alignment with the lowercase crowd.  The final track is the final piece played with percussionist Tatsuya Nakatani and adds Phil Gelb on Shakuhachi - a meditative transition to duo-hood.