Torture Time! - Polly Bradfield, Eugene Chadbourne

So today, since I'm house sitting, I decided to finally review this. Plus it has to be better than that extremely boring Georgie Fame album i just listened to (sorry Oxley you couldn't even save it). Also I've been writing and I need something non-singer/songwriter or to help me focus and get inspired by music. This is the third release by Polly Bradfield. This is a collaborative album between her and experimental guitarist Eugene Chadbourne. Well kinda, she has only been credited to about 20 some odd albums, recorded, from 1978, Frank Lowe's album Lowe and Behold, to 1986, John Zorn's  album The Big Gundown (which might be uploaded soon, either that or Spillane). Hopefully those commas make sense, because i know its technically incorrect use but fuck that. If you remember three February's ago, I was feeling daring and did Environments For Sextet, (which she played violin on). She also played with the other 11 releases he is credited on (from various places, though there might be more). This is also the last album that was released where she was credited as an artist. This album was recorded on April 2, 1981 and should be noted the only instruments on here are violin and dobro.

1. Untitled: Opening with what sounds like a crank or a wheel being turned. First time trying to do the review, I made it like 30 seconds in and my brain turned to mush thinking how the fuck Polly is doing what she's doing. I mean it could just as likely be Eugene, but Polly is the more talented one (IMO). I have to figure shes doing something with the strings on that violin, and some of these "effects" are really interesting sounding. I can't even describe some of the sounds happening because that take far too long and take away from others interpretations. The thing I like is when I hear sounds that sound like a horn, toys, whistle, saw or something not a Dobro or violin. There is percussive noise, but I assume it's achieved by hitting the instruments. At about five minutes in I'm beginning to hope it can keep this up or get better. I like the sort of sped up horse gallops part, that kept me trying to think how's it exactly done, but I think I might have figured it out. There are also parts that remind me of Mr. Bungle field recordings that find their way all over the debut.  Is that a bicycle bell. Around 13 minutes I do like what's going on, but its kind of losing me. To be honest, I'm not completely looking forward to another 20 minutes of this. It kinda sounds like a fart. I feel like if cut up into individual tracks, to sort of help only get short doses of this the track would be much better. Like maybe cut this into 5 or 6, 1-3 minute tracks. And maybe cut parts that kinda repeat you know. 
2. Untitled: Bow by the time I'm at side two I'm like, the better be damn great of amazing to make up for the overall okay last track. And yeah it starts off promising, though it leaves me wanting more (in the this isn't enough, not I want to have more the the same or quality). Why no drums bru, that'd make it so much fucking better or something else, horns something. There is a sound that when I hear it I imagine the film being dissolved, like in movies. But in this instance it'd be the sound or music. There is a nice "banjo" type thing I hear, but it fades to fast. I like some "effects" on this track also, but I fear its going to wear thin fast. I mean the last thing wasn't so hot. It kinda sounds like someone masturbating. There's a part where the Dobro is in,  the distance and almost sounds like its over a radio. I like that a lot. But it goes to fast and isn't fully utilized. 6 minutes in, of 15, and I'm kinda picturing what could make this better. Horns would so fucking make this better, like horns that acted as a regular string section. Then maybe pizzicato horns (probably using term wrong or not ever the right term, but fuck it). At 9:24 I'm beginning to completely check out, I am glad I checked the time because that helps me know its almost done. I do like the breathing sounds and how it is chaotic towards the ending but I feel like it didn't do what I wanted it to do. 

Overall I have to give this album a disappointing 5/10. It's free improvisation, what did you expect. I mean as much as I enjoy the genre and take influence from it I can't say anything of it could really be a 10/10. I mean I bet if I was to play this and have ten people review this most would hate it and point out, its not music. The thing is, this is music, we've past the point in time a long time ago where this wouldn't be considered music per say. But that doesn't mean i didn't have hopes of it being a 7 or 8. I mean this album, to me, felt like it could be up there with European Echoes, Environment, Typography of the Lungs and so on. Sadly it's just one I heard I'll probably forget after this review. There is an art to being able to do so much with so little, and you know I learned quite a bit from sitting through this record, but I won't revisit it. Actually on that note, the fact there is so few and little also detracts from this. I mean if they added a percussionist, and he had a shit ton of things to use that'd help make this much more interesting at parts. Really, if you open minded about music I ask you check this thing out, maybe you'll get something out of it. Or if you play a string instrument you can hear weird sounds for 35 minutes. But yeah, its nothing that I'll ever want to bear again. 

Heretic: Jeux des Dames Cruelles - Naked City

This is the third studio album, and only soundtrack, released by John Zorn's super group Naked City. This is my first Naked City review, and since I like this album (a favorite of mine) I decided to review this. I also decided to review this keeping in the themes of Flith [;)] and more dark side of things..... what "scares" me I guess. I haven't been able to find the this film on the internet, thought if means anything I sat thought The Elegant Spanking which Zorn also scored. I would rather not relive this film, it's kinda boring but also if you can look past the kind of slow pace.... It's hilarious. Plain and simple, it's just so.... I feel like I could have written that script. So that should be saying something. The music did thought add to the experience, so I am kinda 'pissed' I couldn't find a copy on the interwebs of this. Thought based off the cover, and the inside photographs from the film, it's probably much more hardcore. I'm also not really into anything that isn't.... I don't like pain, plain and simple. However I should stop wandering and review this album. Playing on this record we have Yamantaka Eye (I should really do a Hanatarash and Boredoms review soon) on vocals, John Zorn on Alto Saxophone, Bill Frisell on Guitar, Wayne Horvitz plays keyboards, Fred Frith is on bass and Joey Baron is the drummer. But this album is pretty awesome, so let's get it on. Also I though, since the last review was a soundtrack, why not do another. One I much better like. Because they conveniently listed each player on each track in the liner notes (well back cover), I decided to mention them by name. I also would like to note I hope to have another review up tomorrow. This was intended for last Thursday.

1. Main Titles: With this track, featuring Eye, Horvitz and Baron; we get the opening to the album. It also serves as the main titles to the underground S&M film Jeux des Dames Cruelles. This opens the album, and is very odd sounding. The first time you hear it you almost have to wrap your head around what's happening. What I imagine is a they were in a room and they are just hitting a bunch of chimes and electronics and, it's crazy. It makes me thing that drums also includes percussion (though it isn't listed). It's not the most extreme thing I've heard, it almost sounds watered down listening to it now.... But it's still a great track in my opinion. And Watered Down in making it more accessible vs making it stupider and less good. Does that makes sense
2. Sex Games: This is kinda of the exact opposite of the last track. Where that was very improvised and loose, this kinda of has a very jazzy structure, be it a loose one. Frisell really sounds like he's playing if Pink Floyd did jazz. And I also like the contrast in rhythm of Frith's bass. It isn't exactly in sync with anything really. Don't get me wrong this is loose, but it's loose like..... well..... I hate to say this but.... Like if they were stoned and they played. It's still there, but not completely. But then I also feel like Baron wouldn't be having those drum bursts if he toked up before hand. It's not until about 30 seconds until the song kinda melds and works cohesively. But I kinda feel like it came together the same way It's Gonna Rain fell apart. They way they were playing eventually it would sync up, like that ones eventually it would unsync. Though there is a clear difference between this and that... that's what I liken it to, loosely. Like after that if you listen it's still together, but not completely again. I do like the razor sharp sounds the guitar is making and those bass "scales" damn. Plus while I've heard faster drumming, I still gotta hand it to Joey for keeping it together, but at the same time not.
3. The Brood: There is a very Ennio Morricone atonal film score piece feeling I get to this track. Zorn's Sax tricks you into thinking it's a string instrument. Or maybe that's Horvitz's keys playing a string sample. And throw in Joey's drums and you have one unsettling piece that is giving me goose bumps. And Zorn doesn't over do those squeals. They make the track more uncomfortable.
4. Sweat, Sperm + Blood: What's better than a Yamantaka eYe and John Zorn alto saxophone and voice harmonization in the beginning of your track. If I'm being completely honest, I kinda like that backing him up vs the Boredoms. While I haven't even come close to hearing everything by them, or everything by Hanatarash I think he's best fit here. There is a part where he does this sound where it sounds like a growl (stomach) and it's kinda funny. But serioulsy, this type of piece where it's just voice and what not.... It blew my mind when I heard this. Fuck Mike Patton was inspired to do his first solo album because of Eye. So I mean the sounds he produces with his voice, and the saxophone accompanying him. Let's just say The Classic Guide to Strategy would easily be an lot if Eye was on it.
5. Vliet: The only name I've ever seen with Vliet is Don Van Vliet. So this could be a tribute to him, it also could just be a coincidence. I love the funky bass paying here, I also love the very Residents' guitar of Nolan Cook playing on the track. This guitar sounds like it'd fit on one of the newer albums with him playing on it. It's very short, and I kinda wish there was a bit more. But I also don't know how long the track would be able to keep my interest. But I also don't haven't any lack of faith when it comes to these guys, and this album. So it's more of a devils advocate for me.
6. Heretic 1: The first of three title tracks, and this intro reminds me so much of Oingo Boingo. The rhythm and it's great. I love the guitar on this and the sax. This isn't really industrial, at least I don't think it is, but I have a very machine like quality to it. It kinda almost sounds like a backwords version of an Oingo Boingo rhythm section. With Saxophone shrieks. also it's just sax and bass. I think the saxophone is what really give it that feeling. And eventually before I can even really realize it, I doesn't remind me of what I was just listening to. Prominent bass and sax, also solid bass playing here. Then just saxophone before going into what sounds like a sped up backwards tape fuck of a storm. It's very interesting sounding. Like I can Imagine someone sticking their penis into that tape machine and having sex with it and then that is what caused the atmosphere of the track.... And considering what type of film this is sound track to, that might not be that insane.
7. Submission: I wonder what happens at this part in the movie. And to be honest, I don't really know what to make of this track. There is a feeling of a motif with the guitar, like I could imagine someone walking around or being more innocent maybe. That might be a stretch, but still. And it's funny, the guitar and the drums are together, but off, there are only seconds where it could be a "theme" in the conventional sense but not long enough to be able to be one. This actually reminds me of a Zappa track that I am blanking on at the moment. This is a very drum based track, and while I kinda whish it had the drum playing of Han Bennink on it, Joe does a great job none the less. There there is a part where it sounds like the guitar is playing a loop of a section of the South Park theme. Also the keys on this track make it more atmospheric (thought it could be looped guitar) but it adds a really nice texture here. And oddly enough the song gets more aggressive, or irritated as it progresses. In terms of a movie, what plays in my head is the sub is tired and over throws the dom. Maybe kills or hurts the person. That's what played in my head, scene wise. And then the reflection of no wait no. I could totally imagine a silent film being played with this playing to a scene. And while the drums at the ending might make more sense when you see it in practice, I can't say I feel the solo drums are necessary.
8. Heretic 2: This has to have a backwards bass on it, al thought the drums kinda sound backwards a bit too. The only part I can say that I know is forwards is the sax. This isn't all to much like the first Heretic. I mean, yes it's similar and could be a continuation or a variation, but I don't know. I get a different feeling with this one. Its not so "industrial" and more in like with the other tracks.
9. Catacombs: There is a very ambient feeling of this track, and what sounds like a saw. That saw is what I'm assuming is the keyboards on the track. While I haven't heard anything in the genre, the best way I can describe this is "dark ambient". There is a bit that reminds me a tad of Delìrium Còrdia and maybe other Fantômas tracks. Just bursts of that group in the track.
10. Heretic 3: With the same Zorn, Horvitz, Baron line up tha was on the second part, this sounds like there are game calls on this track. And this is also just so weird, I mean it's not weirder than anything you've heard earlier, but I feel like the track was maybe sped up a bit. It's more in line with Torture Garden in my opinion. It almost could be an outtake from the sequel. Althougth I am also getting more of a Radio feeling to it. I like the extra wind instruments on this and the odd noises that make it worth coming back to.
11. My Master, My Slave: Wooooooow, is what I imagine the intro is saying. It sounds like they wah-wahed Frith or Horvitz. It also sounds more like there is an actual piano on the track vs just keyboards. There is also this noise that sounds like scraping in the beginning that reminds me a tad of drum and bass music. Honestly the best thing I can compare this too is a move interesting version of something that was done on The Elegant Spanking. There are water echoes and it almost make me think of under  water.
12. Saint Jude: This track vaguely reminds me of a solo by Zappa off Tinsel Town Rebellion. This could actually be a tampered with tempo cover of one of those tracks. It's got drums, bass and guitar so it has the basis of one of those vamps. If not Tinsel Town then maybe 78-81, so like the period that Shut Up And Play Yer Guitar was recorded.
13. The Conqueror Worm: This is the name of a poem by the famous Edgar Allen Poe. I saw the 60's film they made of it, I thought it was kinda boring. I don't believe this is just Zorn and Horvitz. There is too many percussive sounds that aren't covered by sax and keys. I also think there is a whale call in this track. I also get a tad of an oriental feeling from the sounds.
14. Dominatrix 5B: I like the drums in this track, and the weird prepared guitar sounds. Then it goes into an overdriven guitar and the fastest drums by Joey I've heard. This actually vaguely reminds me of Spillane. Not a ton, but just a bit. I really like the more "metal" feeling I'm getting here. There is a lot more power and force here than on previous tracks. And Damn that drumming, he's fast.
15. Back Through the Looking Glass: Classic title, classic duo. Here we have Frith and Frisell. This picks up the guitar overdrive from the last track, and goes has these sounds that I could imagine Eraserhead having in the film. But buried, in the film. Like that type of atmospheric, thought the movie has much more settling music. This is a pretty weird track that often goes into Nolan Cook territory..... But get this, Frisell did it first. I can see this title fitting the track. The loops feel very psychedelic towards the ending, before kinda dying off and decaying.
16. Here Comes the 7,000 Frogs: That's a shit ton of frogs. While I wished there would be a ribbut, I can't say I am complaining. In reality this isn't that different from Sweat, Sperm + Blood, though parts sound more like Mike Patton doing the vocals. He also makes monkey sounds rather than frog sounds on this.
17. Slaughter House / Chase Sequence: The album seems to be making more sense, syncing together, as it moves forward. Another more industrial feeling track. This is more cohesive though and features the bass, drums and guitar trio of earlier. This is actually, while maybe not as good as the other, still solid. I mean the drums are awesome, and so is the bass, but the guitar is what is off for me. Just not feeling it, thought I am feeling the jungle vibe. Also the guitar kinda reminds me the guitar, tone wise and at certain parts sonic-wise(?), in the "live section" of Train Kept A-Rollin'.
18. Castle Keep: This much more ambient in nature. Like there is barley any guitar and it's mostly very pretty relaxing sound that lasts most of the track. It decays out before being played again. This is something that I think is easy to listen to. Thought the second time though it sounds like whistles blowing. Which isn't as pretty on your ears.
19. Mantra of Resurrected Shit: I might have second thoughts of this film.... maybe I shouldn't watch it. In fact based off that title I think I'm gonna throw up. I will give them this, there are parts where the voice and sax become one. This is probably one of the weaker tracks, thought I still do think it's solid. I can't say it's awesome, I just with he'd do voice over other instruments instead of just sax.
20. Trypsicore: This sounds like sand falling slowing being recorded with chimes and guitar mixed in and drums. Thought some of the drums/percussion sounds like rocks falling and hitting stuff. It's also just keys and drums.
21. Fire and Ice (Club Scene): This title makes me laugh, because it reminds me of the Fire and Ice Ball. But, seriously, this is a track I could feel myself jamming over. I can best describe it as a funky groove meets Deep Purple organ, with cyber computer effects and saxophone mixed in. The rhythm section is solid throughout and everything else is just added over sounds from what sounds like sirens, whistle blows... this really is a great track. This is also the only track to feature everyone.
22. Crosstalk: The guitar in the beginning reminds me of Crack Hitler, and the drums are frantic. The beginning sounds like when I pitch shift and speed stuff up really fast. Then it goes into something more like and earlier track with popping bass and popping guitar. Thought parts sound backwards.
23. Copraphagist Rituals: This is my favorite of the Eye tracks, it features Baron and Horvitz too and everyone in on the same wave length this time. eYe does his thing while they accompany him with some faster drums and piano. I dig this track.
24. Labyrinth: Significantly longer then the rest of the track, here at 5:47. The second longest is Submission at 4:21 followed by The Brood at 2:48. The beginning remind me of Jimi Hendrix and Voodoo Child. This is a very laid back track, very ambient. There are also guitar moments that remind me of the laid back part right before the almost Batman Theme like section of Spillane. You could almost look at this as that section, just the full take rather than an edit. I don't think this needs to be as long as it is, maybe if it changed up a bit more, but it is what it is. The track ends on a very, what sounds like, thunder storm coming in.

Overall I have to give this album a 7.8/10. While anything by Naked City is terrific from the genre melting pot that is Radio to the Grindcore (or I guess Jazzcore) Torture Garden to even the ambient Absinthe... This is the first one I listened to front to back. I'd suggest if you want to broaden your horizons, and you are not looking to something super off putting, check out the John Zorn album Naked City, which is considered the groups first album.... Though I think Torture Garden came first.... I don't know it's confusing. But at 57 minutes this is a great album to check out and to get new fresh ideas for expanding your musical vocabulary. It also doesn't take forever to get over with. While based in Free Improvisation, there is enough variety to keep me interested here.... like wholly interested. I cant really pick any favorites, I usually sit through the entire album. Also after re-listening to this album, I will probably regret this.... I really want to watch this film.

Environment For Sextet - John Zorn, Andrea Centazzo, Eugene Chadbourne,Tom Cora, Toshinori Kondo, Polly Bradfield

This was originally released in 1979 via Itcus Records. The album was produced by Andrea Centazzo and one of John Zorn's first releases. This was recorded November 7th, 1978 on a Radio Broadcast WKCR. Now I know about Parachute which is Eugene Chadbourne's label, but I'd never heard of Itcus. I guess the label belongs to Andrea Centazzo, a percussionist. Since there are names I've never seen before I'll list what the people play. On cello Tom Cora, on guitar is obviously Eugene, on percussion Andrea, on reeds Zorn, on trumpet Toshinori Kondo and on violin Polly Bradfield. Now an over simplification of Free Jazz is improvised music that disregards the structures of Jazz. Chord changes, tempo it's really kind of free form. With that in mind you know this album won't be "pretty". But when you think about it, beauty is a very  relative. It varies from person to person. So listen/read with an open mind for experimentation. I was planning on doing this review a week ago, but in that time I've learned something. This is a new beginning, I'll start reviewing Ennio also.

1. Environment For Sextet: The things that I feel I'm gonna have trouble doing for this review is describing the sounds. But I'll try. It's kind of like an organized chaos. There is strings that sounds like they are creaking. The drums are going pretty crazy, and the horns and squealing. Then every few seconds, about maybe 10 or 20 or 30 there's a silence. After the third time a drum fill breaks the silence. It lasts only a few seconds before silence again. Under the silence you can hear Zorn playing around with the reeds and Centazzo playing around with the drums. Actually around 4:25-ish the squeals remind me of The Return of The Son of Monster Magnet off Frank Zappa's debut Freak Out!. The chimes in here remind me a little of Larks' Tongue. The reeds kind of do too. The two songs I compared this too are two of my favorite songs. I like the way the guitar sounds, it don't sound that pretty, and kind of sounds weird. This song progressively picks up it's pace again. Zorn and those bird calls. I also like that drone in the background. This song makes me feel kind of nervous.
2. Solo Improvisations: This intro to this reminds me of Naked City, but with less structure. By that I mean Naked City has odd things like that but they are always broken up or cut off by a different composed or thought out kind of idea. This is just free as can be. But the thing is it's pretty cool that they did this. This is the shortest track, at 5:58 on the CD. There is slide he's playing on the guitar that sound like things I've done, or tried to do. He's making them way more interesting and this is feels like it could be maybe in a movie or something. And the cymbals rhythm that Centazzo is keeping is great. I wonder if not for him would this be kept together. Thought it's really not that kept together.
3. Second Environment For Sextet: Some of whats going on reminds me a little of Classic Guide to Strategy, but this is keeping my attention more so. Maybe it's because I can tolerate it more, or maybe it's because there's more going on. This is the longest part at 17:12, and probably my favorite part. This is very chaotic and great because of that. There are elements that I found in the first Environment that reappear here. The trumpet reminds me of Bitches Brew at around the 3:45 mark. This is truly something that I imagine was fun to do. It also sounds kind of fun and has feeling that's going into it. These players are kind of clicking, and able to think of the same level as each other. This really sounds like some of the things that Zorn would do later on in his career. This is obviously where it all started. There are certain moments here that remind me of The Crucible. There are also parts that remind me of The Yellow Shark, especially Be-Bop Tango. The only complaint is that this is kind of long, not too long. I probably wont listen to this twice in a row, maybe every once and a while, but it's a long track.
4. Solo Improvisations (Part Two): This wraps up the album. This is kind of crazy sounding. I could imagine someone about to be killed, or someone going crazy with this in the background. At this point I kind of have a lack of words to describe what's going on. I like just the flurries of insanity that go on in this and throughout the rest of the album.

Overall I have to give this free jass release a 7.5/10. Unless you're able to sit thought random happenings, ie. In C or chance music in general, you may not like this. I find this very interesting, but you may not. But now back to me, if there's anything I learned from this it's definitely look up some more of these artists. I enjoy this music though, it gives me ideas and helps keep me in check. How may you ask..... MUSIC HAS NO RULES!!!!!!! There are certain things that are common and are used in certain genres, but realistically there isn't a rule that says you can't do this here. Who's gonna lock you up for having a micro-tonal solo over classical music. Oh yeah, also I plan on reviewing all the albums I just torrented (LPS not on CD or Cassette ever). This is the only way I can listen to them and hopefully decide if I'll find the real deal someday. But I plan on doing all the Parachute Records and most of the Avant and Tzadik labels and any other label that is related to anyone on this album. This also got me pumped to listen to The Topography of the Lungs by Derek Bailey, Evan Parker and Han Bennink.