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dkm009 MUTE SOCIALITE
More Popular Than Presidents And Generals
dkm009 (2008) CD - $12.00
Somehow fusing together precise technical playing and a seemingly randomized music structure, this metal-free-jazz-noise-experimental unit is akin to navigating a minefield on LSD! Technical as many prog acts but without the pretension, this is a sure hit for fans of Massacre (they do a blasting cover version of one of their songs) or A.T.'s own The Ex or Dog Faced Hermans! 43 minutes and 12 tracks of blissful insanity makes this one of the most unique Bay Area acts cranking out music today!



"Mute Socialite -- from California's Bay Area -- is nominally a free-jazz / improv band, but they sound more like a technical metal band that's been listening to a lot of Last Exit and most of the Load Records catalog. Drummer Moe! Staiano (aided by second drummer Shayna Dunkleman on two tracks), guitarist Ava Mendoza, bassist Alee Karim, and trumpet player Liz Allbee draw freely from free-jazz, improv, metal, and noise to create pounding and unorthodox sonic vignettes that are impressive for their velocity as well as their technical dexterity. You can get an idea of where they're coming from by the fact that they cover "Killing Time," by the experimental supergroup Massacre (featuring Fred Frith and Bill Laswell); their style, chops, and attitude have much in common with bands like the aforementioned Last Exit, Hatewave, the Flying Luttenbachers, and similar bands from the more aggressive wing of post-no wave experimental skronk. I don't know how improvised this is -- it sounds awfully tight to be totally improvised, but then so did Last Exit, so who knows? Not that it matters; whether it was rehearsed or improvised on the spot, the songs are engaging and controlled (even when it doesn't necessarily sound that way), and there's nothing fey or abstract about their demanding sonic wallop. This is an experimental / free-jazz album that hardcore metalheads can appreciate (or should that be the other way around?), with plenty of dynamics and surprising changes in direction to go with the hyperkinetic drumming, machine-gun riffing, and howling guitar excess."
-The One True Dead Angel zine

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