Profile: Marc Ribot (2018)

The separation of immigrant children from their parents. The trashing of the Paris Agreement on climate change. The white nationalism. The Mueller investigation. The Tweets. The wall. There’s been no shortage of reasons to hate Donald Trump and his lie-filled House of Whiteness. Marc Ribot’s heard more than a few of them. But what prompted…

Review: DF – “abcdf” EP

I feel largely under-qualified to review abcdf, the new EP and accompanying visual experience from Montreal duo DF. While tenor saxophonist Dustin Finer employs some of the same looping methods as fellow Montreal act Alder & Ash – whose Clutched In The Maw of The World I liked very much – his tone is wholely,…

REVIEW: Oblique Quartet – Tlaloc Beat

Dear Reader: Staff writer Justin Vellucci promised us a review of Oblique Quartet’s debut record,Tlaloc Beat, in his words, “by the end of May, drop-dead latest.” As I am writing this, September is nearly over. In the spirit of fairness to the musicians who labored over the product, we have decided to instead publish Vellucci’s notes…

REVIEW: PAK – “NYJPN”

Listening to PAK, composer Ron Anderson’s vehicle driving through ears a frenetic pastiche of jazz, funk and math-rock, can be transcendent. Writing about them, though, is a whole other matter. It’s a little like unraveling a knot, and a complicated one at that. In 2011, when Anderson and company released PAK’s Secret Curve on Tzadik,…

REVIEW: tētēma – “Geocidal”

Sabina Maselli’s spirited avant-film experimentation is the perfect introduction to tētēma, the Anthony Pateras/Mike Patton duo debuting tomorrow on Ipecac. Both, it should be noted, are mind-blowing. Filmed in digital, transferred to film and bounced back again into the digital domain – just like Beckett wrote/translated from French to English to French again, Pateras notes –…