Failure To Display
US-Korean free jazz fuckry for drums, electronics, voice, gongs, and piri - the classical Korean folk reed instrument - by two hotheads from the contemporary Brooklyn jazz scene
Manically impulsive, seethingly disciplined, and with a proper skull-scrape approach to tone, ‘Failure To Display’ is yet another mad one from the excellent Superpang stable. Sparking off each other in endlessly inventive permutations, Jason Nazary brings decades of experience at the drum stool to Leo Chang’s fascinating use of what he calls the VOCALNORI system, expressing an untraditional, free improv approach to his Korean heritage by amplifying vocals thru classical gongs and cymbals, effectively animating them without touching them, in combination with electronically processed piri, a Korean double reed instrument.
We’ve long held a fondness for the angularity of Korean classical court music, and how, to our ears, it reminds of a sharply stylized, improv blues, and it’s not hard to hear that heritage at play via Chang’s chops and uniquely resonant, wordless vox that makes he metals sing like a Sonambient setup activated by haywire piezoelectric motors in an underwater cavern. WHEW!
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US-Korean free jazz fuckry for drums, electronics, voice, gongs, and piri - the classical Korean folk reed instrument - by two hotheads from the contemporary Brooklyn jazz scene
Manically impulsive, seethingly disciplined, and with a proper skull-scrape approach to tone, ‘Failure To Display’ is yet another mad one from the excellent Superpang stable. Sparking off each other in endlessly inventive permutations, Jason Nazary brings decades of experience at the drum stool to Leo Chang’s fascinating use of what he calls the VOCALNORI system, expressing an untraditional, free improv approach to his Korean heritage by amplifying vocals thru classical gongs and cymbals, effectively animating them without touching them, in combination with electronically processed piri, a Korean double reed instrument.
We’ve long held a fondness for the angularity of Korean classical court music, and how, to our ears, it reminds of a sharply stylized, improv blues, and it’s not hard to hear that heritage at play via Chang’s chops and uniquely resonant, wordless vox that makes he metals sing like a Sonambient setup activated by haywire piezoelectric motors in an underwater cavern. WHEW!
US-Korean free jazz fuckry for drums, electronics, voice, gongs, and piri - the classical Korean folk reed instrument - by two hotheads from the contemporary Brooklyn jazz scene
Manically impulsive, seethingly disciplined, and with a proper skull-scrape approach to tone, ‘Failure To Display’ is yet another mad one from the excellent Superpang stable. Sparking off each other in endlessly inventive permutations, Jason Nazary brings decades of experience at the drum stool to Leo Chang’s fascinating use of what he calls the VOCALNORI system, expressing an untraditional, free improv approach to his Korean heritage by amplifying vocals thru classical gongs and cymbals, effectively animating them without touching them, in combination with electronically processed piri, a Korean double reed instrument.
We’ve long held a fondness for the angularity of Korean classical court music, and how, to our ears, it reminds of a sharply stylized, improv blues, and it’s not hard to hear that heritage at play via Chang’s chops and uniquely resonant, wordless vox that makes he metals sing like a Sonambient setup activated by haywire piezoelectric motors in an underwater cavern. WHEW!
US-Korean free jazz fuckry for drums, electronics, voice, gongs, and piri - the classical Korean folk reed instrument - by two hotheads from the contemporary Brooklyn jazz scene
Manically impulsive, seethingly disciplined, and with a proper skull-scrape approach to tone, ‘Failure To Display’ is yet another mad one from the excellent Superpang stable. Sparking off each other in endlessly inventive permutations, Jason Nazary brings decades of experience at the drum stool to Leo Chang’s fascinating use of what he calls the VOCALNORI system, expressing an untraditional, free improv approach to his Korean heritage by amplifying vocals thru classical gongs and cymbals, effectively animating them without touching them, in combination with electronically processed piri, a Korean double reed instrument.
We’ve long held a fondness for the angularity of Korean classical court music, and how, to our ears, it reminds of a sharply stylized, improv blues, and it’s not hard to hear that heritage at play via Chang’s chops and uniquely resonant, wordless vox that makes he metals sing like a Sonambient setup activated by haywire piezoelectric motors in an underwater cavern. WHEW!