LA and NYC-based percussionist and composer Booker Stardrum's third NNA set is hyperactive, mind-expanding and mouthwateringly elastic. It's like Supersilent, Chris Corsano, Golden Retriever, Eli Keszler and OPN in a hot tub filled with liquid MDMA >> basically fucking next level.
Recorded with Deerhoof's John Dieterich, "CRATER" is a bizarre and brilliant cosmic blast of sound that's focused around - but not limited to - percussion. Stardrum's background is in free jazz, which grounds the record, but it never feels tied to one discipline or another, instead dancing around dance music, experimental noise and ambient, soundscaping and improvised instrumental spontaneity.
This is physical music. Tracks like 'Fury Passage' and 'Bend' are jaw-unhinging splatterdrum masterworks that seem to explode from Stardrum's tactile performance. But then the 8-minute 'Steel Impression' adds a different element, burying the unglued percussive throb underneath cinematic brassy drones and looping noise.
'Parking Lot' is even wilder, pepping up percussive elements with anxious, minimalist electronics and sounding like a particularly chirpy SND in the process, while closer 'Walking Through Still Air' maybe accidentally mirrors the feeling of a club night winding down as horn drones slowly cave into rapid, rolling kicks. Well good.
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LA and NYC-based percussionist and composer Booker Stardrum's third NNA set is hyperactive, mind-expanding and mouthwateringly elastic. It's like Supersilent, Chris Corsano, Golden Retriever, Eli Keszler and OPN in a hot tub filled with liquid MDMA >> basically fucking next level.
Recorded with Deerhoof's John Dieterich, "CRATER" is a bizarre and brilliant cosmic blast of sound that's focused around - but not limited to - percussion. Stardrum's background is in free jazz, which grounds the record, but it never feels tied to one discipline or another, instead dancing around dance music, experimental noise and ambient, soundscaping and improvised instrumental spontaneity.
This is physical music. Tracks like 'Fury Passage' and 'Bend' are jaw-unhinging splatterdrum masterworks that seem to explode from Stardrum's tactile performance. But then the 8-minute 'Steel Impression' adds a different element, burying the unglued percussive throb underneath cinematic brassy drones and looping noise.
'Parking Lot' is even wilder, pepping up percussive elements with anxious, minimalist electronics and sounding like a particularly chirpy SND in the process, while closer 'Walking Through Still Air' maybe accidentally mirrors the feeling of a club night winding down as horn drones slowly cave into rapid, rolling kicks. Well good.
LA and NYC-based percussionist and composer Booker Stardrum's third NNA set is hyperactive, mind-expanding and mouthwateringly elastic. It's like Supersilent, Chris Corsano, Golden Retriever, Eli Keszler and OPN in a hot tub filled with liquid MDMA >> basically fucking next level.
Recorded with Deerhoof's John Dieterich, "CRATER" is a bizarre and brilliant cosmic blast of sound that's focused around - but not limited to - percussion. Stardrum's background is in free jazz, which grounds the record, but it never feels tied to one discipline or another, instead dancing around dance music, experimental noise and ambient, soundscaping and improvised instrumental spontaneity.
This is physical music. Tracks like 'Fury Passage' and 'Bend' are jaw-unhinging splatterdrum masterworks that seem to explode from Stardrum's tactile performance. But then the 8-minute 'Steel Impression' adds a different element, burying the unglued percussive throb underneath cinematic brassy drones and looping noise.
'Parking Lot' is even wilder, pepping up percussive elements with anxious, minimalist electronics and sounding like a particularly chirpy SND in the process, while closer 'Walking Through Still Air' maybe accidentally mirrors the feeling of a club night winding down as horn drones slowly cave into rapid, rolling kicks. Well good.
LA and NYC-based percussionist and composer Booker Stardrum's third NNA set is hyperactive, mind-expanding and mouthwateringly elastic. It's like Supersilent, Chris Corsano, Golden Retriever, Eli Keszler and OPN in a hot tub filled with liquid MDMA >> basically fucking next level.
Recorded with Deerhoof's John Dieterich, "CRATER" is a bizarre and brilliant cosmic blast of sound that's focused around - but not limited to - percussion. Stardrum's background is in free jazz, which grounds the record, but it never feels tied to one discipline or another, instead dancing around dance music, experimental noise and ambient, soundscaping and improvised instrumental spontaneity.
This is physical music. Tracks like 'Fury Passage' and 'Bend' are jaw-unhinging splatterdrum masterworks that seem to explode from Stardrum's tactile performance. But then the 8-minute 'Steel Impression' adds a different element, burying the unglued percussive throb underneath cinematic brassy drones and looping noise.
'Parking Lot' is even wilder, pepping up percussive elements with anxious, minimalist electronics and sounding like a particularly chirpy SND in the process, while closer 'Walking Through Still Air' maybe accidentally mirrors the feeling of a club night winding down as horn drones slowly cave into rapid, rolling kicks. Well good.
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LA and NYC-based percussionist and composer Booker Stardrum's third NNA set is hyperactive, mind-expanding and mouthwateringly elastic. It's like Supersilent, Chris Corsano, Golden Retriever, Eli Keszler and OPN in a hot tub filled with liquid MDMA >> basically fucking next level.
Recorded with Deerhoof's John Dieterich, "CRATER" is a bizarre and brilliant cosmic blast of sound that's focused around - but not limited to - percussion. Stardrum's background is in free jazz, which grounds the record, but it never feels tied to one discipline or another, instead dancing around dance music, experimental noise and ambient, soundscaping and improvised instrumental spontaneity.
This is physical music. Tracks like 'Fury Passage' and 'Bend' are jaw-unhinging splatterdrum masterworks that seem to explode from Stardrum's tactile performance. But then the 8-minute 'Steel Impression' adds a different element, burying the unglued percussive throb underneath cinematic brassy drones and looping noise.
'Parking Lot' is even wilder, pepping up percussive elements with anxious, minimalist electronics and sounding like a particularly chirpy SND in the process, while closer 'Walking Through Still Air' maybe accidentally mirrors the feeling of a club night winding down as horn drones slowly cave into rapid, rolling kicks. Well good.