We're Late For Class: sounds

Showing posts with label sounds. Show all posts

soundsseven: The Virtually Imperceptible Science Of Being

#7 In Our Ongoing SOUNDSERIES

We've officially resurrected our cornerstone franchise soundseries series... which is - by definition - a series of sounds. Go figure. This one's called soundsseven, which means you can find soundsone through soundssix in our archives. There's even a handy soundsbox (one thru five) if you're the organized type.

In keeping with tradition, soundsseven comes with just a front and back cover, saving us the trouble of coming up with some contrived conceptual gibberish to explain 23 minutes that you can never get back. Thanks for even reading this far... since we know full well you've got better things to do.

As we are prone to do, we've provided 320's below, while those with bat-like audio perception can get FLAC, AIFF, WAV and other file formats from our Bandcamp page (and/or player above) for an inflation bucking 100¢. Bargain or rip off? You make the call!

The Virtually Imperceptible Science Of Being Pt. 1 (12:42)

The Virtually Imperceptible Science Of Being Pt. 2 (10:18)

Free 320

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soundssix: Sounds In An Empty Theater

#6 In Our Ongoing SOUNDSERIES

We're officially resurrecting our not-all-that-well-received-in-the-first-place SOUNDSERIES series... which is, by definition, a series of sounds. Consider this the pursuit of a leftover franchise we hoped might stick against your refrigerator door like a string of flaccid, lukewarm spaghetti. This one's called soundssix, which means you can find soundsone through soundsfive elsewhere. There's even a handy one thru five soundsbox if you're the organized type.

In keeping with tradition, soundssix comes with just a front and back cover, saving us the trouble of coming up with conceptual gibberish. Check out our reviews online. Just ignore the one about our music causing confusion and internal bleeding in lab rats... that charge is still under review, thankyouverymuch.

Thanks also to our mysteriously assembled cadre of odd followers & generous benefactors. As is our wont, 320's are below, while those that covet audio quality can get FLAC, AIFF, WAV and other file formats from our Bandcamp page (and/or players) for a mere buck.

Sounds In An Empty Theater (11:38)
Derangedly Arranged Kites (35:32)

Free 320
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#76 soundsbox

Sound experiments. It's arguable whether this stuff is even listenable. If that's the case, you might actually be able to call it "art." Don't bet on it, though. We've released all of this stuff before as individual posts in our ongoing soundseries. But we're now boxing it up with a spiffy new cover for easy consumption. 15 tracks, approximately 78 minutes, almost like one of those CDs your favorite rock star might release when he's slumming in the "experimental music" field. We all know that just means he finally made enough money to buy some new gear, and he's paying for it by selling his fans the noise it makes when he turns it all on at once. We already had the gear. All tracks previously released.

Listen

Free 320
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Click To View, Listen or Download Each Release Individually
soundsone
soundstwo
soundsthree
soundsfour
soundsfive

#70 "8 Gigs In Kingston - The Complete We're Late For Class" (USB Flash Drive)

SOLD OUT!

OUR NEWEST RELEASES ARE ALWAYS INCLUDED!

Our catalog is officially out of control. This "complete" USB Flash Drive release first began as 4 Gigs In Kingston, but has exponentially expanded into a behemoth we're now forced to call, 8 Gigs In Kingston. As before, it contains the entire We're Late For Class catalog - almost two days worth of so-called "music," designed to soundtrack your blissed-out mindset (or... up the ante on your ongoing audio wars with the neighbors) - all on a single 16 GIG 3.0 SE9 G2 Kingston Data Traveler USB Drive. Every track available on this blog (and even one track that isn't). This collection (all @320) comes with a Rich Text File containing all the artwork and text found in this blog's nooks and crannies - including... all of our numbered releases, our ongoing soundseries, even alternate personas (aka Art Jackson's Atrocity, The Manipulationators & The Avant Guard) and... "Pregnant Tight Rope Walker In Santa Ana," a track that only appeared on an offsite compilation album. ~~Such a deal at $16.99, plus $3.92 Media Mail shipping (USA SHIPPING ONLY! )~~. The good news is that (for a while anyway) you'll get an extra 8 gigs of free space, which is probably more valuable than the chaotic 8 gigs we're hawking here. After we foot the bill for the drive, Paypal fees and sundry expenses, we'll probably wind up with a six-pack of imported brew for ourselves - which we're confident you'd happily treat us to if we ever came over to your house to play. And, in a way we are... in the form of a discreet Media Mail package, shipped within 24 hours (except weekends & holidays). Can you beat that? If we sell enough of these, we might even buy a van and tour. Then we just might show up at your place to hang out long enough to empty the fridge. That's cool, right?

8 Gigs In Kingston
The Complete We're Late For Class
USB 16GB 3.0 FLASH DRIVE Only $16.99 + $3.92 Shipping (USA SHIP ONLY!)

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PRESS THANKS...

Thanks to the late, great Fred Dellar at MOJO Magazine for mentioning Art Jackson's Atrocity AND We're Late For Class in two separate "Ask Fred" columns, where he called the Atrocity's Gout a "fine, percussion-fuelled, invigorating free-for-all," and also saying, "we at Ask Fred are glad WLFC exist." Thanks Fred!

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Many thanks to Jeff Fitzgerald over at Psychedelic Waves for including Art Jackson's Atrocity in his list of Top 30 Albums of 2019, calling Tribute To Sun Ra... "Some great, exploratory, tripped out Sun Ra inspired free jazz," and "a terrific album." Needless to say, we're shocked. Since we never sent the guy a dime. Thanks Jeff.

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Thanks to Roz Milner for the two interview/articles posted at Bearded Gentlemen Music, "Solving the Mystery of Art Jackson Atrocity’s Gout," and the most recent, "With His Back To The Crowd: Art Jackson’s Atrocity’s Live In Europe - Lost Live Jazz Recording."

We collectively appreciate the creative interest and the well-groomed ink.

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Thanks to It's Psychedelic Baby Magazine for the article, "Maybe It’s Time To Take Art Jackson’s Atrocity Seriously." Maybe.

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AN ACTUAL RECORD REVIEW...

ART JACKSON'S ATROCITY

Gout

(Unreleased 1974 Promo On Columbia Records)

Reviewed by Joe Kenney @

Julian Cope Presents Head Heritage

If, like me, your favorite era of Miles Davis is his electric era, specifically the 1973-1975 years in which Pete Cosey was his guitarist, then you’ve probably wondered why that super-fantastic lineup of his never cut an album together, after Miles decided to retire in late 1975. I mean, they were the greatest group in history, with Pete Cosey’s phenomenal, psychedelic guitar (the man was beyond Hendrix, that’s all there is to it), Reggie Lucas’ wah-wah’d grounding rhythm guitar, Michael Henderson’s dub-like basslines…hell, I can’t go through all of them, but if you know them, you love them. But if you’ve ever wondered what an album by this super group sans Miles would sound like, well my friends, I give you Gout, by Art Jackson’s Atrocity.

Only thing is, you’ll have to hunt the blogs for it. Recorded in 1974, the album was cut as a promo by Columbia, who then went on to drop both the group and the album, which is unreleased to this day. “The horror…the horror…” No one’s sure why (info is slim to none on this group and album), but most rumors have to do with Art Jackson’s drug abuse. In any case, the album has perfect sound quality – the only source is the promo LP, of course, and it sounds phenomenal.

The Miles connection surfaces again: Art Jackson was a twenty year-old guitarist whom Miles Davis himself recommended to Columbia records. Apparently Davis even funded the recording of the album. The Atrocity was put together around Jackson, an 11-member collective of hard-rockin’, psychedelia-lovin’, jazz-playin’ motherfuckers (two saxophonists, four drummers, two keyboardists, a guy on reeds, a guy on bass, a guy on “effects”), none of whom I’ve ever heard of (much like Art Jackson himself).

The five long tracks on Gout center around Jackson’s guitar, and the kid is Pete Cosey reborn; the stuff on here sounds almost identical to what Cosey was performing on the Agharta and Pangaea albums. That same sort of fucked-up, psychedelic distortion which goes from raging and chaotic one moment to spaced-out drones the next, the strange tunings, the works. Only thing is, unlike Cosey, Jackson’s not above playing a power chord or three, so the album packs a definite metal-rock punch. I mean, it’s fantastic, the whole thing.

The superbly-named “Shaft In Afghanistan” opens the album. Jackson’s guitar is on super-fucked mode, sounding like a cyclic tone. The rhythm section lays down a menacing, throbbing track, which Jackson and the sax & reeds proceed to riff over. Jackson soon leaves the actual “song” to the others, instead riffing and roaring with all manner of guitar sounds across the track. He’s everywhere, from wah-wah to thick distortion to cosmic fuzz. Things cool down three minutes in, but it’s only a fake-out; the track comes right back in. Jackson funks it up on wah-wah, with studio-tricked handclaps providing additional percussion. There's all sorts of electronic gimmickry on the album; this isn’t just some quickly recorded demo. This eventually calms down again into a sort of funky ambience – but it’s just another fake-out! The track rips right back up, the drums so superbly recorded (and no doubt closely-miked) that they seem to pound within the caverns of your skull.

“Arabian Fabian” (another great title!) comes in with total menace, until a faux-lite jazz tune pops up. Funky, proto-drum’n’bass drum kit and sax. But this soon becomes something altogether un-lite. Echoed murk creeps across the track, eerie wails, treated reeds, and dubbed-out sax bleats. Those close-up drums kick in and we’re in an altogether heavier, funkier groove. The first half of the track belongs to the Atrocity, with Jackson throwing in brief fills and licks on his mutated guitar. Things collapse into psychedelic ambience at the five-minute mark; free jazz with plinking guitar and tapped cymbal. But ominous guitar fuzz hovers in the distance, a starving wolf preparing to attack. John Carpenter keyboards arise and give the track even more of a horror-movie feel. But it’s a ruse; the piano takes over, playing a melancholy melody as the other instruments recede into the murk. This doesn’t last. Those ultra-loud drums kick the shit out of you again, jumping out of nowhere, and suddenly we’re into the strangest of strange: ambient free jazz with heavy metal drums. The track eventually wears itself out, descending back into the murk from whence it came.

“Available Bush” sounds like some early ‘90s industrial mash, with in-your-face drums and ripping and roaring Ministry-esque guitar. The track throbs on an off-kilter funk grove, Jackson heading the proceedings with the twists and turns of his guitar. The sax plays a faux-Middle Eastern counter-melody to his blasts and blares. The bassist throws in a few snake-like fills of his own, but his instrument sounds anemic compared to Jackson’s acidic distortion. This one humps along for seven minutes which quickly pass by, never establishing anything beyond that off-kilter groove, but never suffering for it.

“Tomato Reign” is the epic of the album, 16+ minutes of cosmic echo and free jazz. It crawls out of the murk in the opening moments, ethereal and disjointed fills from the assembled players. Things continue in this dubbed-out vein for a few minutes; nothing on the level of the Taj Mahal Travelers, but close…along the lines of the last half of Miles’ 1975 shows, when Cosey et al would let it all hang out in improvisatory bouts of experimental noise and abstraction. Pounding, tribal drums which pop out and then disappear. Bleated sax fills which float across the sound spectrum. Even animalistic grunts, growls, and screams from the group. This culminates in ultra-fucked guitar from Jackson, sounding again like some cyclic tone from hell, and then someone (a group member? a sample from some obscure film?) states in the calmest tones, “Fuck her. Let her rot.” A few more minutes of banging, echoed drums and bleating, mournful fills from the sax, and that’s it: the freest noise-skronk ever comes to a close.

“Let’s go!,” someone yells, and we’re straight into the pounding, pissed-off proto-metal of the title track, “Gout.” This is the rock version of the preceding track, another rhythmless excursion into all things free, only packing a wallop in the guitar distortion and overall menace. It pounds and snarls for six minutes, never finding a groove, preferring to live in its own sonic hellhole of chaotic din. Finally it builds to a climax of sorts, with a few final bashes on the drum kit, and the record’s over.

To be fair, you can see why Columbia refused to release this. Gout is the type of album you’d only find on some free jazz label or, if it was recorded today, some ultra-hip indie label. But Columbia in the mid-1970s? Releasing this groundless swell of jazz-metal ambience? Hard to believe. But those master tapes are out there, somewhere, as is the full story of what exactly happened to Art Jackson and his Atrocity. In the meantime, we can only listen to their one recorded album, and wonder.

8 Gigs In Kingston The Complete We're Late For Class USB 16GB 3.0 FLASH DRIVE Only $16.99 + $3.92 Shipping (USA SHIP ONLY!)

8 Gigs In Kingston
The Complete We're Late For Class
USB 16GB 3.0 FLASH DRIVE Only $16.99 + $3.92 Shipping (USA SHIP ONLY!)