No Business As Usual / Five Ideas about the Relation of Sight and Sound
SWITZERLAND HINTERZIMMER RECORDS HINT17 CD + DVD (2013)
Virgil Moorefield is a Zurich-based drummer, avantist composer and near polymath whose previous projects have found refuge with such highly revered institutions such as Innova, Tzadik and Cuneiform. As a ‘have drums, will travel’ freelancer, he’s collaborated with Bill Laswell, guitarist Elliott Sharp, and The Swans around the time of the Burning World l.p. He was also the sole panel-beater (and that’s no mean feat!) for John Cage’s favourite guitar slinger Glenn Branca, on his herculean “Hallucination City – 100 Guitars” tour which kicked up vast chunks of orchestrated metallic chordage over the heads of the N.Y. populace from 2006 to 2008.
Moorefield’s latest release on the Hinterzimmer imprint is the No Business as Usual c.d. which is coupled with the Five Ideas about the Relation of Sight and Sound d.v.d. No Business… is primarily a showcase for his Bicontinental Pocket Orchestra; a sixtet comprising Aleksander Gabrys on contrabass, baritone saxist Jürg Wickihalder, Taylor Levine on guitar, percussionist Martin Lorenz, pianist Vicky Chow and Ian Ding on vibes and drums. They and their bandleader can all be observed very much following a cerebral/muscular mindset on the title track; a five part commissioned by New Music Detroit and Detroit Per Se. Both of these experiments in post-minimalism edge towards a certain jazz noir in the Naked City feel, purveying in the main an appointment in unease, plotted on graph paper with slide rule, compass and protractor, where the contents, under extreme pressure, are seemingly fit to burst at any moment. Some passages resemble a debut album era Lounge Lizards under the batonship of Steve Reich, while other fragments seem to refer to a more rigid version of Magma’s ever-building dynamics circa Kohntarkosz. The most prominent figures in this unwavering/take no prisoners script are the icily cool vibraphonics of Ian Ding and the high end (and beyond) keyboard attack of Ms. Chow, which appears to be an angry, fingerpointing pianist’s curt riposte to Bernard Hermann’s shower scene nerve shredder from Psycho.
As to the visual side of events, the Five Ideas… shows a number of different takes on how moderne technology can affect the interchange between sound and the moving image (this includes a couple of sub-two minute interludes, possibly fulfilling a latterday testcard function). “River of Color” is the opener and explores/expands on the tonalities originating from the guts of a grand piano when struck and its innards plucked. This generates a series of everchanging vertical bands of colour issuing from a huge bank of screens that almost dwarf the two instrumentalists. “Grainy Film” is based on a sequence of simple guitar shapes which build to nightmarishly kozmik proportions and eventually shake themselves free of their wire on wood connotations completely. The closing “Trio” is a processing overload involving the measured thud of a drumming threesome, which is reconfigured into real-time visuals, while, simultaneously being tweaked into an all enveloping electronic soundscape. Wow.
Within the confines of a fairly understated packaging concept employing the joys of four-panel chipboard lies an undisputed treasure trove of left field thought for ear and eye. Highly recommended.