Peter Hammill, Linz Posthof, 20 January 2010

“I believe that, with regard to both the tragic aspect of suffering and instances of extreme ecstasy and affirmation of life, art needs to have a sense of sacred solemnity.” (Hermann Nitsch)

This was a stunning opening to the 2010 concert-going season. Since, for whatever reason, Peter Hammill didn’t make it to Vienna on his European tour, it was a no-brainer to make the short journey over to Linz for my first visit there. The venue, the Posthof, was a very pleasant place indeed, not least because of its wacky location in what appeared to be an industrial estate on the bank of the Danube, miles from the centre of town. Good vibes, nice food, laid-back management (I was able to reserve a seat in the front row by the simple expedient of walking into the hall before the doors opened, while others were able to wander in and listen to the soundcheck), perfect acoustics and a lovely Bosendorfer grand piano for Peter to play. If only all venues could be like this.

Letter to The Wire, January 2010

Thanks to Joseph Stannard for his comprehensive King Crimson survey, although he showered a little too much love on the 1981-84 incarnation of the group for my liking. Where Stannard hears “a hive of small sounds in constant motion”, I just hear Adrian Belew needlessly emoting over pallid jackets-with-sleeves-pushed-up funk, all the while playing guitar to sound like an elephant – and not in a good way, either.

Crimson don’t need a second guitarist, as is amply demonstrated by the ProjeKcts albums (on which Belew played V-drums). Stannard could have said more about these releases, which showcase Fripp’s most satisfying and avant-garde work since the 70s. According to Fripp, the ProjeKcts were supposed to serve as “research & development” for Crimson, but given that so few of the resultant approaches made their way into later Crimson albums the validity of this statement must be in doubt. Fripp could easily have gone against the grain of his audience’s expectations by keeping up with the mix of volatile Improv and irresistible electronic dance beats that characterised the ProjeKcts sessions. What irks me is that he chose to play it safe the next time he went out as Crimson – discarding the innovations of the ProjeKcts and retreating instead into a greasy rehash of former glories.

Swans Are Not Dead

The news that Michael Gira is resurrecting the Swans name for an album and tour this year is scarcely believable but overwhelmingly thrilling. I just want to bump this piece, ostensibly a review of a 2008 solo show in Vienna by Gira, but really some kind of fumbling towards an explanation of why Swans are so hugely important and special to me. For this and other reasons, 2010 is shaping up to be a beautiful year.

Records of the year

Here’s some kind of list of the 2009 releases that made the most impression on me last year.

1. Peter Hammill, Thin Air
2. Naked Lunch, Universalove
3. The Thing, Bag It
4. Fire,¹ You Liked Me Five Minutes Ago
5. Ken Vandermark & Paal Nilssen-Love, Chicago Volume/Milwaukee Volume²
6. Full Blast,³ Black Hole
7. Steven Wilson, Insurgentes
8. Æthenor, Faking Gold and Murder
9. Christina Carter, Seals
10. Alela Diane, To Be Still

Notes

1. Fire is Mats Gustafsson, Johan Berthling and Andreas Werliin.
2. Released as two single CDs, but it’s hard not to think of them as a double.
3. Full Blast is Peter Brötzmann, Marino Pliakas and Michael Wertmüller.

Concerts of the year

Here’s a list of the concerts I enjoyed most in 2009. There’s not much of an order to these ten, except for number 1, which was an incredible evening for me for all sorts of reasons.

1. Jandek, B72, Vienna
2. Spiritualized, Krems, Austria
3. Peter Brötzmann/Toshinori Kondo/Massimo Pupillo/Paal Nilssen-Love, Fluc, Vienna
4. Ken Vandermark/Paal Nilssen-Love, Blue Tomato, Vienna
5. Mats Gustafsson/Barry Guy/Raymond Strid, Blue Tomato, Vienna
6. Sonore/The Thing, Blue Tomato, Vienna
7. Naked Lunch/Universalove, Gartenbaukino, Vienna
8. Sunn O)))/Pita, Arena, Vienna
9. Bruce Springsteen, Ernst Happel Stadium, Vienna
10. Kraftwerk, Wiesen, Austria

Pan Sonic, Vienna Secession, 11 December 2009

The first time I came across Pan Sonic (or Panasonic, as they were then known) was on a cold evening in 1994, in an empty outdoor car park in East London. On that occasion, they (at least one had to assume it was them, since they were never actually seen) had stationed themselves inside an armoured car belonging to Jimmy Cauty of the KLF, which had supposedly been customized to make it into a sonic weapon. This vehicle was driven repeatedly around the car park in circles, with sounds (supposedly generated by Panasonic) emanating from it. The whole thing was tiresome in the extreme, since these sounds were nowhere near as loud as they should have been, while there was nothing at all to see. A failure, then, in both its acoustic and visual aspects. But then one has come to expect failure and empty gestures from Paul Smith, the smug and irritating drudge responsible for the Disobey Club (of which that Panasonic event was part, and a number of other evenings of which I attended in the mid-90s), Blast First Records and sundry other cooler-than-thou ventures.

A couple of years later I found myself on tour, no less, with Panasonic. On the same tour bus, to be exact, since they were the support group on Swans’ final tour of Europe in 1997, on which I was the merchandise seller (see here for a brief reminiscence). An unlikely pairing, you might think, but in fact their pummelling and uncompromising electronic noise was a highly effective curtain-raiser to the main event – even after listening to it twenty-odd times as I did. With their spare and lugubrious humour, Mika and Ilpo were also excellent travelling companions on the long drives from show to show. During a lengthy tour-bus debate on the merits and demerits of tenpin bowling, Mika responded to a criticism that the scoring system was perhaps unnecessarily complex with the doleful comment “It does not matter what is the score.”

Another twelve years, and Pan Sonic (having lost an ‘a’) wound up in Vienna for what was apparently their penultimate live concert ever (the last one being next week in Athens). The venue was also notable, being a tiny club in the basement of the Secession building. After a long wait outside to get in and an interminable support slot, the duo came on and proceeded to shake the Secession to its foundations. Augmented by unnerving rhythmic patterns, the heavy drones and sine waves were wildly diverse and crushingly loud. Mika and Ilpo sat at their dial-strewn consoles, seemingly generating all their sounds from analogue equipment (there didn’t seem to be any computers in use). The only visual accompaniment was a flickering back-projection of a single thick vertical line, which mutated in response to the music (they had used the exact same visual on the Swans tour). This stuff was disorientating yet vastly entertaining, its endless arcs and twists the product of fierce and highly musical intelligence.

Pita & Z’ev, Vienna Rhiz, 6 December 2009

Exceptional concert of crushing noise from the reliably hardcore Peter Rehberg and his partner for the evening, American percussionist Z’ev. Aside from this brief review of an album he made a few years ago with David Jackman a.k.a. Organum, this was my first acquaintance with Z’ev, whom I was vaguely aware of as some kind of Industrial metal-basher. No metal onstage tonight, though; instead Z’ev played the V-drums, and did so with great skill and panache.

Because the V-drums don’t require a huge amount of physical exertion to play, the American was able to lay down all manner of complex and interlacing stickwork, which ended up sounding like a vast and heavy cloud of noise. Z’ev’s playing was especially notable for the way it almost-but-not-quite resolved into a steady rhythmic pulse, leaving the listener with a distinct sense of unease and discomfort.

Over on the other side of the stage, Rehberg made plenty of contributions to that sense of unease himself with the squalls of sonic violence issuing from his Macbook. Indeed, such was the totality of noise in the room that it was frequently impossible to tell whether a given sound was being generated by Rehberg or Z’ev. Not that it mattered. The two of them barely exchanged a glance at each other for the hour or so they were onstage, yet behind this apparent lack of communication lay a supremely intuitive understanding of how to ramp up the tension to monstrous levels. Possessed by a malign sense of urgency, Rehberg’s hissing drones and Z’ev’s clattering percussion are made for each other.

Three saxophonists

This is a great picture. I wonder what they were talking about?

Ken Vandermark/Paal Nilssen-Love, Vienna Blue Tomato, 20 November 2009

Another superb and – let’s not forget – entertaining evening of high-powered free jazz from two masters of the art. What with all the vague descriptors of power and intensity I keep reaching for in my fumbling attempts to describe why I love this music so much, it’s easy to forget how hugely enjoyable this stuff is. Watching these guys it’s hard not to break into a broad grin at the sheer audacity and confidence of it all, quite apart from the fact that they are clearly having a great time onstage themselves and that it’s utterly infectious.

Furthermore, there’s a palpable sense of involvement here as well. Bizarre as it may sound, the closest parallel I can think of is with watching your favourite football team, or (to take an example from my recent experience), watching your son take part in his first football tournament. You’re willing them on, urging them (often audibly) to ever greater heights, and when those heights are reached, you celebrate together with them. With very few exceptions (Swans and Godspeed You Black Emperor spring to mind), that kind of delirious communion between performer and audience is something I’ve never come close to experiencing at a rock concert.

Anyway, this evening saw the American saxophonist and clarinettist Ken Vandermark squaring up to Norwegian drummer Paal Nilssen-Love. Vandermark’s playing ranged from swinging Ayleresque Fire Music to out-and-out free sections, via quiet lyrical passages and an arsenal of attacks on the reed which produced all manner of way-out clicking sounds. There were exhilarating sections of circular breathing as well, Vandermark proving himself the equal of Evan Parker and Anthony Braxton in his mastery of this most challenging of techniques. Whether on clarinet, tenor or baritone sax (the latter borrowed for the evening from Mats Gustafsson, fact fans), Vandermark’s performance was superbly gripping.

You couldn’t say any less than that about Nilssen-Love, either. Here’s another musician who was clearly having great fun onstage, with huge smiles lighting up his face at the beginning and end of each piece. While playing, though, he’s a study in relentlessness, his shirt getting steadily drenched in sweat as he produces an astonishing battery of percussive rhythms and dramatic textural interventions. Driving the saxophonist on to ever more frenzied bursts of manic inventiveness, Nilssen-Love shot electric sparks from his drumkit with every movement. Together, the two men touched awe-inspiring levels of energy and creativity.

Ether column, December 2009

If you’re tired of the usual New Year’s Eve party locations, or you don’t much fancy having firecrackers thrown in your face by children on Stephansplatz, why not head over to the Rhiz for a special end-of-year show by Bulbul? This fun-loving Austrian trio are a regular fixture on the Vienna live circuit, bringing home the point that there’s nothing like frequent gigging if you’re a band that wants to get noticed. Fresh from his triumphant appearance with Jandek in October, drummer DD Kern will be joined by Raumschiff Engelmayr and Derhunt (possibly not his real name) for an evening of angular, splintery rock with lots of distorted guitar and pounding bass – the ideal way to wave goodbye to the old year and say hello to 2010.

My final recommendation of the year also goes to an Austrian group, The Scarabeusdream. The duo from Burgenland serve up an electrifying mix of keyboards, drums and screamed-out vocals. Pianist Bernd Supper approaches the keyboard like he’s fighting with it, standing up to play and hammering relentlessly down on the keys, while drummer Hannes Moser’s engagement with his kit is similarly deranged and physical. The group’s début album Sample Your Heartbeat To Stay Alive showcases their aggressively minimalist approach to great effect.