The heavyweight trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi return with their 12th and most epic release to date, a monumental triple LP.
Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio's decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.
The side-long opening piece finds Haino on a single snare drum in duet with O'Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored
Han Bennink. On "Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?", O'Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi's percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.
For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as "Strings of Dubious Reputation". Joined by O'Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino's wonky, slack strings adds a definite "musique brut" edge to this side-long performance, certainly one of the most enchantingly odd in the trio's discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O'Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title "There are always things I wish to say but I can only convey them in this language August 6 August 9". Haino's clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by
Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio's stamina and continuing inventiveness.
The work of
underground musician Keiji Haino (born 1952 in Chiba, Japan, lives and works in Tokyo) has included rock, free improvisation, noise, percussion, psychedelic music, minimalism and drones. Besides his legendary bands Fushitsusha and Lost Aaraaff, he has worked with artists and bands like Boris, The Melvins,
Jim O'Rourke,
Oren Ambarchi,
Peter Brötzmann and
Steve Noble.
See also
Bruno Fernandès: Vocations de l'ombre – Haino Keiji – Une autre voix/voie du rock.
Musician, composer, improviser and producer, Jim O'Rourke (born in 1969 in Chicago, lives and works in Tokyo) is an essential figure of the American independent rock and post-rock scene (his solo records released on Drag City or in groups with Gastr Del Sol and
Sonic Youth have all become classics of the 1990s and 2000s) as well as experimental and electroacoustic music. His collaborations are countless: Illusion Of Safety,
Christoph Heemann,
David Grubbs,
Loren Connors, Wilco, Henry Kaiser, K.K. Null, Günter Müller, Voice Crack,
Evan Parker,
Phill Niblock, Mats Gustafsson,
Tony Conrad, Faust, Space Streakings, Loose Fur,
Fennesz, Diskaholics Anonymous Trio, Carlos Giffoni,
Keiji Haino,
Masami Akita, Masaya Nakahara,
Takehisa Kosugi, Fire!, Akira Sakata,
Oren Ambarchi,
Stephen O'Malley,
Kassel Jaeger,
Anthony Burr, John Fahey, Tortoise, Stereolab, Red Crayola, Guided By Voices,
Merzbow...
Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (
The Wire, UK).
Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as
Morton Feldman and
Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.
From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as
Grapes From The Estate and
In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.
Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.
Ambarchi has performed and recorded with a diverse array of artists such as
Fennesz,
Otomo Yoshihide, Pimmon,
Keiji Haino,
John Zorn, Rizili, Voice Crack,
Jim O'Rourke, Keith Rowe,
Phill Niblock, Dave Grohl, Gunter Muller,
Evan Parker,
z'ev, Toshimaru Nakamura,
Peter Rehberg,
Merzbow,
Kassel Jaeger,
Anthony Pateras,
Crys Cole,
Giuseppe Ielasi,
Judith Hamann, Sunn 0))),
James Rushford,
Stephen O'Malley and many more.
For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale.
Ambarchi has released numerous recordings for international labels such as
Touch, Southern Lord, Table Of The Elements and Tzadik. He is the founder of
Black Truffle Records.
