#jacob felix heule

[musicmakesyousmart]

Kevin Corcoran and Jacob Felix Heule - Erosion

Notice Recordings

2021

#Kevin Corcoran #Jacob Felix Heule #Erosion #Notice Recordings #experimental #free improvisation

[bubblesandgutz]

Every Record I Own - Day 481: Bill Orcutt Odds Against Tomorrow

This is an album highlight of 2019.

Bill Orcutt is a revered guitarist in the world of noise, improv, and the more adventurous realms of ‘90s indie rock, stemming largely from his tenure in the rabble-rousing project Harry Pussy. To be honest, he only popped up on my radar after repeatedly coming across his collaborative LP with Jacob Felix Heule Colonial Donuts at record stores in recent years. It’s quite possibly one of the greatest album covers of all time, so naturally my curiosity was piqued and I eventually picked up a copy. However, the epileptic freakout of Colonial Donuts is a whole different trip from Odds Against Tomorrow. 

On his 2019 solo LP, Orcutt dials back on the spasmodic fretboard gymnastics and focuses more on the American primitive guitar tradition. This isn’t to say that he’s completely ditched his punk adventurism; one of the central delights of Odds Against Tomorrow is that it uses a framework of blues and open-tuning folk music to instill a sense of nostalgia, and then Orcutt will pepper it with these twisted, skronking embellishments to give it a little stank. It’s a sentimental record with just enough melodic perversion in it to keep it from feeling complacent or anodyne. 

Odds Against Tomorrow is a very satisfying record with some of the richest clean electric guitar tones and bittersweet melodies of the year. Even if you’re a little skeptical of improvised music---maybe even particularly if you’re a skeptic of improvised music---you should give it a spin.

#bill orcutt #everyrecordiown

[diyeipetea]

HDO 518. Voces: Voicehandler, Savina Yannatou y Charlotte Hug [Podcast]

HDO 518. Voces: Voicehandler, Savina Yannatou y Charlotte Hug [Podcast]

Por Pachi Tapiz.

Tres propuestas en las que la voz tiene un papel esencial suenan en la entrega 518 de HDO. Voicehandler, Eleni Karaindrou y Charlotte Hug.

Voicehandler es el dúo compuesto por el baterista Jacob Felix Heule y la vocalista Danishta Rivero. Esta artista hace uso de la electrónica para tratar su voz, pero también para acompañar a la batería empleando distintos recursos (lo que se…

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#Charlotte Hug #Danishta Rivero #ECM New Series #Eleni Karaindrou #HDO #Humbler Records #Jacob Felix Heule #Listen Foundation! #Pachi Tapiz #Savina Yannatou #Voicehandler

[dustedmagazine]

Bill Orcutt — Bill Orcutt (Palilalia)

(Audio is annoyingly embed-protected, but you can listen to it here.)

Bill Orcutt’s record sleeves appropriate a gallery of iconic figures in ways that say, “what’s yours is mine.” You think he plays the blues? He’ll give you a gallery of Stevie Ray Vaughn guitar picks. You think he’s a boss guitarist? He’ll give you a mash-up of Jimi Hendrix and Barack Obama. But even when he’s messing with you, there’s truth to be found. The tape (and later LP) named Gerty Loves Pussy didn’t just play on Gertrude Stein’s sexuality and the name of Orcutt’s old band, it recognized that her writing and his playing share a penchant for making something out of what seems to be imperfect repetition. His snapped strings and interrupted rhythms correspond to her obsessive textual variations. So what to make of Orcutt putting out an album that not only has a very nicely shot image of the man himself, but uses his name for its title? Take it for what it quite obviously is; the man is showing us what he’s about.  

Some people have been waiting a long time for Bill Orcutt to make a solo electric guitar record in a studio, and he has done this on Bill Orcutt. But he didn’t just make this record for people who have been waiting for the guy from Harry Pussy to plug in again. If you got off on HP’s agro assaults, Orcutt’s been delivering those ever since he ended a decade-long sabbatical with a four-string Kay acoustic guitar. And if you wanted to hear him plugged in and blazing, Gerty and his duos with drummers Chris Corsano and Jacob Felix Heule have already met that need. And if you wanted to hear him take on hoary Americana, A History of Every One got there first.  

But on this LP, Orcutt spells out what he does, and exercises sufficient restraint while doing so that he’ll reach people put off by the treble overload of his live performances or the ultra-raw presentation of records like Gerty or A New Way to Pay Old Debts. Rolling off the high end a tad, boosting other parts of the sound spectrum, and keeping his mouth far enough from any microphone that you can’t hear his unhinged vocalizing are all conciliatory moves that will allow the listener to focus on how he actually plays the material. “Christmas on Earth” and “Nearer My God to Thee” each reveal how his tone-scrambling outbursts arise from tunes rather than simply blow holes in them. Taken just a little quicker than a crawl, “Ol’ Man River” honors the way Paul Robeson used the dignity in his voice to demand respect for every African-American. And “The Star Spangled Banner” takes on Hendrix on turf that Seattle’s son has occupied so long that some might think it’s his home rather than the spoils of artistic plunder. He displaces the rhythm, condenses the attack and distorts the guitar’s voice in ways that betray Hendrixian knowledge but refuse to concede the superiority of its wisdom. A gutsy move, but Orcutt has the nerve to try it and the singularity of approach to pull it off. For at least as long as it takes you to play this LP, that flag belongs to him.

Bill Meyer

#bill orcutt #palilalia #bill meyer #albumreview #dusted magazine #electric guitar #american songbook #old man river #jimi hendrix #paul robeson

[the-out-door]

200 Words: SULT + LASSE MARHAUG

(In 200 Words, we highlight a new record we like a lot, via a 200-word review by Marc Masters and 200 words (or so) from the artist about whatever they choose.)

SULT + LASSE MARHAUG - Harpoon LP (Pica Disk/Conrad Sound)

So much happens on Harpoon that calling it “busy” is like describing a three-dimensional object with two-dimensional adjectives. It also doesn’t get at exactly how the acoustic trio Sult (guitarist Håvard Skaset, percussionist Jacob Felix Heule, and contrabassist Guro Skumsnes Moe) can make such a racket while exuding so much patience and clarity. I can hear every nanosecond of activity happening on Harpoon and yet if I let my brain defocus the tiniest bit, suddenly I’m drowning in noise.

The simplest explanation for how this can be is the sculpting prowess of Lasse Marhaug, to whom Sult handed source material and freed to do whatever he felt like with it. Certainly Marhaug has done so well with this type of exchange in the past that huge credit for Harpoon’s unendingly-fascinating sound-storm has to go to him. But even that doesn’t get to the stunning alchemy of this record. It doesn’t feel like a collaboration in the back-and-forth sense, but more like a kind of musical block universe devoid of time’s beginning/middle/end arrow. Its existence seems oddly necessary - as if this sound had to exist, always existed, a part of the universe the group is discovering rather than inventing.

– Marc Masters

<a href="http://sult.bandcamp.com/album/harpoon">Harpoon by Sult + Lasse Marhaug</a>

LASSE MARHAUG on Harpoon

I’ve been a fan of Sult before they’d made a sound. I’ve known Jacob, Guro and Håvard for ten+ years, and everything they’ve done has been interesting – Basshaters, MoE, Art Directors, Bay Oslo Mirror Trio, Street Priest – they’re creative/forward thinking musicians that follow their obsessions – and that’s always worth my time. So when they told me they were starting an acoustic noise band I knew it was going to be special. And it was. I dug their first two albums and was seriously stoked when they asked me to be involved on their third record. They’d recorded hours of amazing material, and I got free rein to mold it into whatever I wanted. I went for big monolithic blocks of sound – because I happen to really (really) like big monolithic blocks of sound. Usually my music has electronic origins, but Harpoon is all acoustic, which gives the music a physical presence you don’t often get on noise records. And of course, this record owes a thing or two to the work of artists like David Jackman, Andrew Chalk, GX Jupitter-Larsen and David Tudor, but I feel Sult is worthy of that lineage. I’m just glad I got to come along.

GURO SKUMSNES MOE on Harpoon

Here are just some notes from me on tour, from playing concerts with Sult.

Crossing the border again of what it is being me. See-through as a bottle. No smile or words to hide behind. Or clothes or make up. It flows out of me. My own mass, what makes me me. I lift myself down so I cannot see. Sounds everywhere. Intuition. Spine. Trust. Surrender. It is singing inside my ear. Presence. Wanting to touch another humans mind. Roots grow. Swallowed by the presence. I am breathing loud breath. Beep sounds. Circles on the contrabass, shift to scream. Stretching, stretching moment. State of noise. Dark ocean seeking inwards. Outwards. Shadow, road, we are breathing. Continuing, falling, look up, eyes closed. Border not present. Seeking border, no border. A fierce march forward without knowing why. Endurance like a cactus.

Harpoon is out now. Buy it here or here.

#200Words #Sult #LasseMarhaug

[jsoliday]

Principles of Non-Isolation In Audion No.4

we invite you to listen in on an evening of live sonic exploration with duo sets from:  GREG KELLEY <+> DANISHTA RIVERO and JACOB FELIX HEULE <+> CHRIS COOPER

followed by PONIIA 4TET with DJ LUCY on the 'ludes improvising LIVE TOGETHER IN REAL TIME in non-isolation from three different locations in the U.S. Sunday April 26th 2020 5pm Pacific / 7pm Central tune out at  soundcrack.net or twitch.tv/sounjaerk

[evanreiser-blog]

Bill Orcutt & Jacob Felix Heule, “Colonial Donuts”

(2015)

#bill orcutt #jacob felix heule

[brainpussyfication]

Six months after an inspiring first-meeting duo performance at Soliday's venue Enemy in Chicago (tacked on to the end of a Basshaters tour), the two reconvened for a recording session in that same space. With little discussion, they played for 3 hours straight, and this material is the result. Both musicians play oscillator-based electronics, augmented by Heule's electroacoustic percussion.

#SoundCloud #Jacob Felix Heule #percussion & electronics

[diyeipetea]

HDO 243. Trouble Kaze, Sult / Marhaug, Govaert - Reis - Vicente - Martinsson [Podcast]

HDO 243. Trouble Kaze, Sult / Marhaug, Govaert – Reis – Vicente – Martinsson [Podcast]

Improvisaciones que en su libertad pueden rozar distintos estilos. Las del trío Sult (Havard Skaset, Jacob Felix Heule, Guro Skumsnes Moe), con Lasse Marhaug desestructurando y llevando al límite el sonido del trío en el LP – download titulado Harpoon (Conrad Sound / Pica Disk, 2017); la del doble trío Trouble Kaze (Natsuki Tamura, Christian Pruvost -trompetas-; Sophie Agnel, Satoko Fujii-pianos…

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#Audioblog #CD #CD de Jazz #Christian Pruvost #Circum-Disc #Conrad Sound #crítica #Didier Lasserre #FMR #grabaciones #grabaciones de jazz #Guro Skumsnes Moe #Hablando de Oídas #Havard Skaset #HDO #HDO el podcast de jazz de Pachi Tapiz #HDO el podcast de Pachi Tapiz #HDO Hablando de oídas #Jacob Felix Heule #Jazz #Jazz CD #Jazz en España #jazz en español #Jazz Podcast #José Francisco Tapiz #Kristjan Martinsson #La actualidad del jazz en España #Lasse Marhaug #Luís Vicente #Marcelo dos Reis

[dustedmagazine]

Bill Orcutt & Jacob Felix Heule—Colonial Donuts (Palilalia)

“We Are All Bob Marley” is about as preposterous a title as anyone could put on a record decorated with Bob Marley tattoos and titled Colonial Donuts. But not the most preposterous. That honor belongs to the album’s first song, “Columbus Unbound.” In what sense was Christopher Columbus, one of history’s most recognizable genocidal Europeans, ever bound in the first place? His name is synonymous with violence and indulgence (and colonialism) at this point, so much so that efforts to change the holiday named for him to Indigenous Peoples Day succeeded in nine new US cities this year, including St. Paul, Minnesota and Carrboro, North Carolina. It’s hard to believe, though, that Bill Orcutt and Jacob Felix Heule, both Bay Area residents, are oblivious to the irony. In 1992, the Bay Area Indian Alliance convinced the city council in Berkeley, California to rename Columbus Day in order to raise awareness about the crimes perpetrated against Native American people by European invaders. Annual pow wows and Native American celebrations have been held there every year since. Everyone that knows Orcutt’s work also knows Harry Pussy by now, and anyone tracking his EP output will be familiar with his love for manipulating famous faces and playing with perceptions. There’s the Barack Obama (notice the initials) and Jimi Hendrix mashup, Muddy Waters’s split face on Way Down South (recorded in New Zealand, not Mississippi), the Heath Ledger and Canio combo that houses “I Remember Pedro Bell” and “Dylan in Buckskin,” and of course the Tupac Tattoo double 7”. The art and titles on Colonial Donuts are a continuation of that preoccupation, whatever it is. It might be too much to look for a message in the mess, but the music inside does seem match the convoluted mish-mash of ideas and images explored on the outside. 

In his recent work with both Sult and Beauty School, Jacob Felix Heule has concentrated firmly on extended techniques, so that much of his drumming sounds more like textured improvisation with a tool set than percussive time-keeping. With Orcutt beside him, his rock ‘n’ roll chops come to the fore, at least a little. For that reason, and because Bill’s bluesier side sticks way out this time, Colonial Donuts feels like a rock record with all the fake egotistical machismo and obnoxious swagger cut away. It’s attack and decay, frazzled heat and cool contemplation blended into a stinging concoction that seems without pretense. Heule beats the hell out of his drums, spasms across them, then reins himself back into tightly controlled fits; he even lays down a few steady beats. Bill mangles his electric guitar as everyone expects him to, chokes pointillist clusters from its neck, and, in response to Heule’s steadiness, pounds out a couple of memorable riffs. It’s physical and loud and gnarled, but not tough or full of hot air. The whole thing sounds in shambles and on fire half the time, a controlled wreck propelled on smoking wheels. 

The secret is that Bill and Jacob are way more in control than that. Bill, at least in solo form, always has been. He improvises without a doubt, but bits and pieces of melody consistently rise above the din, both on purpose and in spite of his technique. On songs like “Christmas on Earth” and especially “About the Author,” melody is the star. During the former, Heule plays the role of the accompanist, highlighting Orcutt’s melancholy meanderings and buzzing amplifier with intermittent snare snaps and muted metallic splashes. At the beginning of the latter, we hear Heule say, “If you find the beat, I’ll follow you,” which is exactly what he does as Orcutt finds his way into a pleasantly rolling figure that could probably camouflage itself on a Palace Brothers record. There’s a surprising amount of prettiness spread across Colonial Donuts, a grand total of three out of 13 songs. Small in number though they are, their potency persists in the mind. 

As for the rest, Orcutt and Heule absolutely kill it in places. The title track is a meatheaded explosion packed with idiotic glee, “Imitation of Life-Like” is a weird stuttering ball of frustration, and “Pity the Monster” transforms the guitar into a noise machine that perfectly matches Jacob’s unique approach to shrill cacophony. Drums have always suited Orcutt, Heule’s style just happens to suit him extremely well. Colonial Donuts is all over the place stylistically and sometimes resembles a sketchbook — the recording quality verges on bootlegged at times — but that scattered-ness sounds more like the product of excitement than accident. Both musicians have been playing together a long time, it must feel good to finally capture some of their accord on record. 

Lucas Schleicher 

#bill orcutt #jacob felix heule #colonial donuts #palilalia #lucas schleicher #albumreview #dusted magazine #harry pussy #guitar #drums #duo #columbus #message in the mess