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UNSEEN WORLDSがクラウドファンディングを募り製作した76年の"BLUE" GENE TYRANNY & PETER GORDONのグループ76年のライヴ音源。アナログ入荷しました。SHAGGS Meets PARA的な変拍子ミニマルロック。

Lovely Music, Ltd.からのデビューアルバム、Love Of Life OrchestraやARTHUR RUSSELLのDinosaur Lはじめ、NYCの70s前衛、ディスコシーンを出発点に様々な作品に携わってきたNYCの奇才先ソフォニストPETER GORDONと、彼の盟友でROBERT ASHLEYの重要な数々の作品にもピアニストとして関わり、 LOVELY MUSICからソロアルバムもリリースしている"BLUE" GENE TYRANNYのコラヴォレーション「Trust in Rock」。脱力したLO-FI、SSW/フォーク、ギターロックの感じから、徐々に変則的なグルーヴを反復し、トランス化していくような20分にわたるミニマルロックはPARAのファンにも是非聴いてもらいたい。もう一曲プレビューされている「Intervallic Expansion」も緩やかなホーンメインの対位法で展開していくような壊れたミニマルロック、じっくりユニークな演奏。アナログは3枚組、ダウンロードコード付き。 (サイトウ)

▼ Tracklisting

Blue Gene Tyranny
A1.Without Warning 20:33
B1.On the Other Hand 20:36
C1.Leading a Double Life 06:44
C2.Next Time Might Be Your Time 09:04
Peter Gordon
D1.Machomusic 07:55
D2.God's a Man 11:04
E1.When Baby Gets Wet 05:53
E2.Cloves and Cinnamon 09:02
F1.Intervallic Expansion 17:56

Trust in Rock documents the last evening of an epic concert series held at Berkeley’s University Art Museum in November 1976, featuring an all-star ensemble of the Bay Area’s most unclassifiable musicians performing works by “Blue” Gene Tyranny and Peter Gordon. Tyranny’s cycle “No Job, No Warm, No Nothing” contains songs “concerned with influence, trust, self-reliance, and having to re-do what is true for you;” three songs by Gordon, with lyrics by Kathy Acker, are complimented by two earlier instrumental works. Their combined band crossed styles and institutions and time, and was assembled from the effervescence of the Bay Area scene in the 1970s. It included Gordon on saxes and the RMI Synthesizer; Tyranny on the piano; local video-performance artist Patrice Manget on vocals; Carl Young on saxes; composer-performer-guitarist Paul Dresher, who played in Tyranny’s band Edge of the Road along with percussionist Gene Reffkin; Steve Bartek of the Mystic Knights of Oingo Boingo on bass; and Mills College student Janet Cuniberti on the funky Clavinet and RMI Synth. Though some of the works on Trust in Rock also appear on Gordon’s Star Jaws and Tyranny’s Out of the Blue, many others are available here for the first time. Trust in Rock contains nearly two hours of what Ear magazine called “NEW MUSIC FOR ROCK BAND.”

Except: by 1976, the idea of a capitalized “New Music” had increasingly lost its punch for Tyranny and Gordon. Rock and Roll, likewise, was nearing an apparent generational expiration. The way out of this impasse was trust in rock, which was both description and command. Rock, for this all-star cast of Bay Area heads, became a perpetual revolution that could be serious, playful, polemic, focused, technical, and lovely. And you can hear it in the music: Tyranny’s songs swing from intimate and profound to blissful and joyous, with solos on saxophone, piano, synthesizer, and electric guitar over interlocking rhythmic and melodic cells; an ecstatic performance of Gordon’s “Machomusic” gives a single pitch the real Rock’n’Roll treatment; and Acker’s lyrics on “God’s a Man,” “When Baby Gets Wet,” and “Cloves and Cinnamon” pulse with transgressive sexual energy. This is neither New Music nor Rock as anybody had previously understood those terms, but something else entirely—a kind of transcendent synthesis that audibly reveled in its newfound energy.

Trust in Rock, Tyranny, Gordon, and their band played at, with, and through not only the generic boundaries of New Music and Rock, but also the stylistic boundaries of minimalism, jam bands, and punk. Tyranny had quit Iggy Pop’s band in 1973; Gordon had already moved to New York and began playing with Arthur Russell and Rhys Chatham. That night in the University Art Museum, playing saxophones and and synthesizers, they were not afraid to trust in rock to get them where they needed to be. This was a band that was not afraid to “listen to the interior state of something,” as Tyranny later put it: they put their trust in rock, and this album lets us hear what happened.



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