Glenn Branca
LESSON NO.1
Acute ACT 005
This isn't the first time Glenn Branca's "Lesson No.1" and "Dissonance", originally released in 1980 on Ed Bahlman's mythic 99 Records label, have appeared on CD, but even if you did invest in the first reissue you might want to consider picking this up too, since Acute's package also contains "Bad Smells", Branca's 1982 ballet score for Twyla Tharp (originally on a split LP called Who Are You Staring At? with John Giorno on his GPS label) and a 17-minute Quicktime movie of Branca conducting (if that's the word) his "Symphony No.5" in 1984. Moreover, the music has been remastered by that doyen of No Wave connoisseurs Weasel Walter and comes with a snazzy set of liners by mainman Alan Licht. I make that four damn good reasons to get your wallet out and your earplugs in.
I've only seen Branca's band once in concert, but won't forget the experience. As the guitarists filed onstage and plugged in, the amp buzz alone was as loud as most of music that ever gets performed in Paris' genteel Théâtre de la Ville; once Branca brought his fists down and the whole band kicked in, the sheer volume was absolutely terrifying. Thank God we were sitting near the back of the hall, an excellent vantage point from where we watched well over half the packed house run for the exits, fingers stuffed in bleeding ears. Two other events from that evening stick in my mind, one the sight of Branca anointing himself with the contents of a Coke bottle, the other that I couldn't hear a fucking thing for three days. Goodness knows what they were playing, but it wasn't "Symphony No.5", because that piece starts quietly before building to its inevitable surging climax. The sound quality on the Quicktime video isn't all that wonderful, but there are plenty of shots of Branca in full swing. Literally. And I used to think Lenny Bernstein overdid it.
Back in 1979, after formative experiences in No Wave outfits Theoretical Girls and Static, Branca's music was more angular and rhythmically defined. "Lesson No.1" is defiantly tonal (well, if tonal means sitting on one major chord throughout) and rocks out. In a recent email Branca took issue with Alan Licht's mentioning an anecdote of keyboard player Anthony Coleman to the effect that the composer at the time was "listening heavily to Joy Division's "Love Will Tear Us Apart" ("you can almost sing Ian Curtis' melody over it", Licht states.. well, yes, along with several Velvets, Ramones, Voidoids and Stooges songs if you give the matter some thought), but put that down to Licht's mission statement in the liners that Branca was (is?) "the first post modern composer". "Dissonance" is much more, erm, dissonant, but what became the trademark ugly clusters of late 80s Branca were still intercut with more varied rhythmic patterns, including a part for sledgehammer. As Licht points out, it doesn't quite compare to Z'ev's sheet metal bashing on Branca's "Symphony No.2" – in fact it sounds more like someone playing a contact-miked metal ashtray with a ballpoint pen – but its irregular punctuations open up the structure and make "Dissonance" one of Branca's more accessible works. Accessible, yet uncompromising. The same can be said of "Bad Smells", which kicks off with a raucous gallop sounding like a cross between Ennio Morricone and Phill Niblock. Change comes thick and fast, huge slabs of punk drum power (courtesy Stephen Wischerth) slammed into your earhole. Shame they couldn't have dug up a film of the Tharp ballet – I'd love to see this kind of thing danced – instead of the "Symphony No.5", but I'm certainly not complaining. I don't know whether I'd qualify it as "post modern", but I sure love the way it kicks ass.
~Dan Warburton
Posted by dan on April 29, 2004 10:11 PMCool, Dan. As a big, long-time Branca fan and a proud owner of the original vinyl of 'The Ascension' (from which Lesson No. 1 is culled) and the split LP with Giorno, it's nice to see this stuff getting another go-round. I would recommend that interested listeners seek out the CD issue of "The Ascension" (I forget who put it out--New Tone?--some Italian label, I think) as the title cut is pretty spectacular. Also, the John Giorno side of the LP "Who You Starin' At?" is quite enjoyable, the poet's repetitive lines (over the strong backbeat supplied by, iirc, David Van Tieghem) are wonderfully funny/scary ("We got here yesterday, we're here now, and I can't WAIT to leave tomorrow").
I was also fortunate enough to be present at the recorded performance of Symphony #2 (1982, I think) with Z'ev's amazing performance, including the swinging of metal basins on 10' lengths of chain.
My last Branca was hearing Symphonies #8 and 10 at the Kitchen, maybe 6-7 years ago now. Still sounded great. Those are, as far as I know, also the most recent recorded releases, well worth hearing. I know he performed a massive, 100 guitar thing in Europe a couple years ago--anyone know of more recent activities/recordings?
Posted by: Brian at April 30, 2004 6:06 AMI don't know anything about Branca, never even heard him, to be honest. I also don't know anything about Licht, same. But:
*the first post modern composer*
Chafes.
Is this as stupid a comment as it sounds?
Posted by: Jim Foster at April 30, 2004 7:16 AMIn answer to Brian, yes I've always had a soft spot for Giorno's crazy delivery on record (in print it somehow doesn't work - and unless you enjoy reading about JG's steamy sexlife in NY Subway station toilets, "You Got To Burn To Shine" is rather disappointing). Of course, a lot of the GPS stuff is available on ubuweb (God bless ya, Kenny G), but it'd be nice to see a proper reissue of Giorno's musical outings at some stage.
RE Alan's PoMo observation, well, it's not a statement I concur with myself, let's say. GB didn't mention it in the email he sent me (so I suppose he's rather pleased with at being described as such). But maybe we can get Mr Licht to participate in our discussions (Derek, Joe..)? While we're on the job, let's get Weasel Walter aboard too - he's a minefield of information..
Yeah, shit, WHO reissued The Ascension? (I didn't buy the reissue because I have the original).
I see David Keenan has given Lesson 1 a rather tepid write-up in the latest Wire. I don't think he played it loud enough.
I know next to nothing about Branca except for the little I’ve read. Echoing Brian’s query I’m curious about opinions on the rest of his catalog, specifically the fair share of titles old & new that I think are in Atavistic’s holdings. Would anyone be willing to scribe a mini-primer on the subject?
Dan, buena idea on Licht and Weasel. Anyone have their e-mail addresses?
What’s the story on Keenan? In a recent review of the Anderson/Drake disc on Thrill Jockey I pulled a quote of him likening Fred’s sound to that of Brötzmann, a match I’m still having trouble fathoming.
I had a couple symphonies on tape. I liked them more at one time than I do now.
Posted by: walto at April 30, 2004 4:49 PMI've emailed Alan; maybe he'll join the discussion. Will do likewise with WW.
Branca Primer? Weasel's the man (or Alan - but there was after all the No Wave primer he did in the Wire a while back, worth checking out). I'm not a big fan of the Branca Symphonies very much; only have two or three.
David Keenan? Alive & well & living in Philadelphia last time I heard. Can't vouch for his opinions on Anderson et al; I suspect having to listen to all that dreadful formless muck (Sunburned Hand..) takes its toll after a while. Either that or he's ODing on Philly Cheese Steaks
Well, Keenan made the comparison to Brotzmann about just one track on the Anderson/Drake, not as a general comment about Fred A. It's a pretty negative review--definitely overkill, though on the whole I think he's right, it's a rather disappointing disc. But on the whole Keenan's always struck me as a rather wrongheaded reviewer.
Posted by: nd at May 2, 2004 10:22 PMDisagree re: the Anderson/Drake. I think it's a fine outing by both & one I've gone back to quite frequently. Disappointment being a measure of listener expectations rather than whether the duo accomplish what they are attempting to do. I need to read more Keenan, but based solely on his above comparsion I agree re: his wrongheadedness.
Posted by: derek at May 3, 2004 4:43 AMWell, FWIW it's the only Anderson disc I own, & it's still disappointing.
Posted by: nd at May 3, 2004 10:54 AMSounds like you need some more Anderson ;)
Posted by: derek at May 3, 2004 4:25 PMacute records put out the reissue of ascension as well as this reissue of lesson #1. and the theoretical girls repackage a couple years back...
re: david keenan. as a relatively serious fan of "dreadful formless muck", i think david keenan is the worst thing in the wire, and he will be the reason i neglect to renew when my subscription expires. i'm not convinced the man can distinguish apples and oranges.
m
Posted by: mark at May 4, 2004 7:12 AMSo it was Acute who reissued the Ascension.. thanks for reminding me. On the "dreadful formless muck" side, could you suggest some essential listening for this somewhat sceptical reviewer?
Posted by: dan warburton at May 4, 2004 9:50 PMfwiw, I saw yesterday that there's a DVD available documenting that Branca performance of his 8th and 10th Symphonies at the Kitchen.
Posted by: Brian at May 5, 2004 6:33 AMof the things that david keenan has championed recently , the standouts to me are the charalambides (try 'unknown spin', it's the most available of their better improvised recordings), the six organs of admittance ('dark noontide' is a favorite), and perhaps the blithe sons (they have two releases on family vinyard that should be relatively easy to find). it would be foolish to suggest that the sunburned hand of the man doesn't have a rather severe quality control problem, but if you have a chance to listen to 'jaybird' it is probably their most consistent and rewarding recording.
m
Posted by: mark at May 5, 2004 6:34 AMI'm here. Dan forgot to press "send" on his emailing device, apparently.
Acute also did a reissue of "The Ascension", which I think is a stronger work than "Lesson No.1". The Ascension also cleaned up better - that Italian version that came out in the mid-'90s was a real mess. Extremely quiet and bad sounding.
ww
Posted by: Weasel Walter at June 2, 2004 6:50 PMWelcome aboard WW - how's sunny California? Been evicted yet? You must have hooked up with Kyle Bruckmann by now.. Bay Area watch out..
Sorry I know I know I should have sent this via private email, just happy to see one of my favourite UPPERCASE musicians.
As a ps to this review, last Saturday went to the second loudest concert I've ever attended (Branca still wins the biscuit). Keiji Haino.
Not Tony Conrad? That shit's pretty loud.
Posted by: Jason at June 3, 2004 7:14 AMHave never caught a Conrad gig, amazingly. I've managed to be out of town on each of the last (two? three?) times he's been here :(
Posted by: dan warburton at June 3, 2004 7:54 AMCalifornia is great. There's a lot to do right now (and little money to be made doing it!) I feel pretty grounded because I'm finally in three full time bands again (luttenbachers, xbxrx, curse of the birthmark) and a million side things (including the guerrilla free-skronk band Murder Murder). I've seen Kyle Bruckmann around, but haven't done anything with him. He's doing a performance of one of Berio's "Sequenzas" soon. New luttenbachers trio record this fall . . .
ww
Posted by: Weasel Walter at June 8, 2004 1:16 PMCalifornia is great. There's a lot to do right now (and little money to be made doing it!) I feel pretty grounded because I'm finally in three full time bands again (luttenbachers, xbxrx, curse of the birthmark) and a million side things (including the guerrilla free-skronk band Murder Murder). I've seen Kyle Bruckmann around, but haven't done anything with him. He's doing a performance of one of Berio's "Sequenzas" soon. New luttenbachers trio record this fall . . .
ww
Posted by: Weasel Walter at June 8, 2004 1:16 PMMurder Murder eh? Were you in that band in spring 2002? Super Unity split a bill with them then at Kimos.
Posted by: Joffrey Foster at June 8, 2004 4:09 PMMurder Murder is led by Paul Costuros of the very great jazz/hardcore/noise band Total Shutdown. The group is an amorphous ensemble which generally has two drummers and no guitars. Lately the line-ups tend to have Costuros on various stuff, trumpeter Liz Albee and drummer Chris Dixon. I've been called in a few times to play second drummer. I first played with the band a year ago. Their aesthetic is loud, noisy and short -- sort of a reaction to the fumbling noodle-fests that much contemporary improvisation seems to not aspire to go beyond. FYI.
ww
Posted by: Weasel Walter at June 8, 2004 10:49 PMWelcome, Weasel. Good to have you around. Can't wait to hear the next Luttenbachers disc.
I gave that Anderson/Drake disc a pretty negative review, too (in the most recent issue of Jazziz). It felt like just one more trip to the well to me; I think obscurity raised his stock price unreasonably high.
Posted by: phil at June 9, 2004 7:12 AMAnother trip to the well? Maybe, but when that well yields water as sweet & satisfying as brandy wine I’m gonna keep going back. I do agree that there is ‘sameness’ to much of Fred's discography, but depending on your perspective that can be part of the appeal.
Posted by: derek at June 9, 2004 12:48 PMHere's the full text of my review...
FRED ANDERSON/HAMID DRAKE
Back Together Again
Thrill Jockey
Late-in-life success couldn’t have happened to a nicer guy than Fred Anderson. About eight years ago, after three decades of virtual invisibility, he suddenly became a revered elder statesman of the Chicago free scene. He’s made the most of that status, too, pumping out more than a dozen discs on various indie labels. It’s hard to criticize anybody who’s spent so long waiting their turn, but Anderson’s most recent release implies that obscurity may have juiced his stock price a little.
Back Together Again is a duo record; drummer Hamid Drake’s been working with Fred since the late 1970s. They’ve known each other so long that this album is like a conversation between two old guys who know all the same old stories by heart—which is fine, but it’s a little boring for outsiders. Drake swings hard, mixing jazz rhythm with African and Indian hand percussion for trancelike effects, particularly on the mellower numbers here. Anderson relies on stock phrases more than any musician this side of Carlos Santana. Combine that with his unique tone, and he’s recognizable within two bars. So without a band really pushing him, his albums often sound like one big solo, chopped into chunks. Back Together Again is one of those albums. It would have really benefited from a bassist and a second horn. It’s not without its pleasures, of course, but the market is glutted with Fred Anderson records right now, and he’s too old to let another hiatus build demand. If this were tucked away for a decade and reissued, it might feel like a find, instead of just one more trip to the well.
.................................................. © 2003 - 2006 bagatellen ..................................................