Circle Bros - Detroit (first extract of forthcoming album 'Rust')

Detroit is Circle Bros' first extract of his forthcoming album 'Rust', available on march 11th.


Danny Oxenberg & Bear Galvin (Pillow Mt. Conspiracy) - (Like A) Vagabond Bag

Our Christmas gift: First extract of Danny Oxenberg & Bear Galvin (Pillow Mt. Conspiracy)'s album 'Late Superimpositions', out in march 2016 on three:four records.

More informations here

Enjoy! (2015-12-20)

Denki Udon on Dusted

What’s the difference between jamming and improvising? For this multinational trio, the answer is probably, “Not much.” The name Denki Udon, which translates from Japanese as “electrical udon,” may even be a droll commentary on the topic. Udon = noodle, geddit? At any rate, if they’re noodling, they give the practice a good name, because you don’t need to have your membership in the free improv appreciation society paid up to appreciate the way their occasionally tangential but always connected forays pay off on In ZdB.

Two thirds of Denki Udon share an association going back some years with Jim O’Rourke. Tatsuhisa Yamamoto is O’Rourke’s preferred drummer for his own projects in recent years, and Fender Rhodes pianist Giovanni Di Domenico has released several records with O’Rourke on the Silent Water and Die Schachtel labels. Guitar and bass player Norberto Lobo hasn’t played with O’Rourke, but he did make a pretty marvelous, mostly acoustic solo record called Fornalha that Three:Four put out last year.

However, anyone going straight from Fornalha to In ZdB (short for Galeria Zé dos Bois, the Lisbon venue where this record was recorded) might not make the connection between the two records, since Lobo is totally plugged in on this one and plays more bass than guitar. The main connections are his penchant for bowing whichever guitar he plays, and his interest in making music that flows across the full length of both sides of an LP. It arises from Yamamoto’s rustling percussion and Di Domenico’s halo-ringed notes to a patient groove that post-Damo Can might have felt comfortable claiming, then wanders through a variety of moods, building slowly up to a frenetic freak-out that sounds like the Agharta band might if it has forgone the funk to be anchored by a Godzilla-stomping fuzz bass. This isn’t music made to propose some grand statement, or to change anyone’s life; rather, it’s music very mindful of its origins, but not beholden to them, enacted by musicians with a palpable rapport and great taste in tones.

Bill Meyer

http://dustedmagazine.tumblr.com/post/134729858319/denki-udon-in-zdb-threefour-records (2015-12-07)

Denki Udon on textura

"A leader-less trio with a jones for live improvisation, Denki Udon consists of Norberto Lobo (electric guitar, electric bass), Giovanni Di Domenico (Fender rhodes), and Tatsuhisa Yamamoto (drums). Their appetite for live playing is well-accounted for on In ZdB, which documents a set the trio played on November 21st, 2014 at the Galeria Zé dos Bois in Lisbon. Each of the three brings background in experimental jazz and free improv to their shared endeavour, with figures such as Arve Henriksen, Jim O'Rourke, Fred Lomberg-Holm, Otomo Yoshihide, and Keiji Haino among those with whom they've played.

Being wholly improvised, it's natural that a certain degree of looseness attends the material, and par for the course, explorative episodes stretch out as the participants feel their way along from moment to moment. Yet there is coherence also, so much so that one guesses some small amount of pre-planning or discussion had to have preceded the performance. Lasting thirty-six minutes, the set lends itself perfectly to a vinyl presentation, with two conjoined tracks presented on each side.

“Saike Zoku” opens with Yamamoto saturating the space with colourful percussive flourishes and Lobo and Di Domenico adding painterly textures of their own. As one would expect, that relatively subdued beginning gradually builds into a considerably more animated and aggressive attack, each player feeding off of the energy and ideas of the others. Side A closes with the three digging into a lumbering, blues-based monstrosity titled “Music For Wet Dreams” before inaugurating the flip with the molten free-form thunder of “Needle Dropping.” If there's a secret weapon here, it's Yamamoto, who stokes continual fire throughout the recording; rarely pausing for breath, the Yamaguchi-born drummer whips up cross-currents of cymbal patterns and percussive detail whilst also laying out a stable yet ever-mutating foundation for his partners to play against (see “The Final Static” as an especially good example).
As the recording advances, an interesting concept comes into focus, with Lobo and Di Domenico eschewing conventional soloing for more group-focused interplay. Stated otherwise, the three treat Denki Udon as a singular, multi-limbed entity as opposed to an outfit featuring three individual players—or at least that's the impression encouraged by the recording. In that regard, it wouldn't be too great a stretch to draw a parallel between In ZdB and Live-Evil as far the group concept is concerned, and Denki Udon's playing even sometimes calls to mind the live improvs of King Crimson during its Starless and Bible Black period. "

Textura (2015-11-22)