#al karpenter

[dustedmagazine]

Al Karpenter/Al Karpenter & CIA Debutante — The Forthcoming/S-T (Ever Never)

The Forthcoming by Al Karpenter

Al Karpenter swamps threads of song in seething banks of noise and dissonance.  You find yourself focusing on blaring surface noise, while sense and melody percolates somewhere underneath.  It is very modern in that there is too much going on and you are always distracted, always struggling to find the point, but you know it’s there.  If it doesn’t make sense that’s on you. 

This pair of releases allows for fervid collaboration, across and within the noise experimental genre.  The Forthcoming supplements the Spanish outfit’s live line-up—Álvaro Matilla, Mattin, Marta Sainz and Enrique Zaccagnini—with like minded samplers, warpers and droners: Sunik Kim, Dominic Coles and Triple Negative.  The self-titled brings in medieval futurists of CIA Debutante, just off their Siltbreeze outing Willow, Down, reviewed here a month or so ago (“The sound is immersive and disturbing, noises like factory equipment clashing with eerie Suicide-like beats.”).  You can’t really call one disc a solo album and the other a joint effort since both gain intrigue and unpredictability from outside influences. 

But let’s do it anyway  The Al Karpenter disc dissolves and reforms across six tracks, now muttering imprecations over inchoate punk noise (“The Forthcoming”), now approaching bass thumping electro-dance clarity (“A Brand New Brontophobia”), now disintegrating into incantatory chaos (“Poison Sun”), depending on who is involved.  The title track, aided by London’s Triple Negative, launches florid arias out of a chaotic mesh of guitars and drums, where the instruments natter on towards their own ends, unconnected by time signature or key.  A shimmery, shoegaze-y instrumental break tips into lyricism but slides out of true, an antic beat erupting from it like an irregular heart in flight.  Contrast that with the clean, driving agitation of “A Brand New Brontophobia,” where Sunik Kim guests.  A jittering, techno bass rumbles, clipped onslaughts of snare-like drum machines rattle, as Mattin murmurs and croons.  “Happy B-Day,” one of the cuts with Dominic Coles, opens giddily with keyboard before cutting all the way back to guitar notes and murmured threat (“I’m not afraid to kill or die”), alternately minimal and maximal.  “Drood (Can You Hear Me Now?)” offers the clearest distillation of Al Karpenter’s haunted eclecticism, layering vertiginous synths over muttered alienation. 

S/T by Al Karpenter & CIA Debutante

The album with CIA Debutante also delivers dystopic poetry but couched more rhythmically and with the agitation of punk rock.  “Born Dead” lumbers like a giant mechanical beast, its beat slow and inexorable, giving shape to masses of guitar feedback and intermittent shouts of the title.  “Public Scaffolding” bangs more frantically, as a voice rages against income inequality.  It slips into static but doesn’t lose its structure; you can hear the toms rattling all the way through.  “Medieval Cocaine” sounds the most purely CIA Debutante-ish of all these tracks, the ping and squiggle of electronics framing unknowable, evocative verses. “Fuck You All to Fade No More,” dances inscrutably on synth rhythms and shattering machine beats, as the lyrics shatter the f-word into fragments, repeatedly.   

None of this is especially easy listening, and you won’t be putting it on at your next dinner party.  But it is full of layers and passionate inquiry, and the chaos is like the world right now.  Listen and feel the ground under you crumble and everything sure come into doubt. 

Jennifer Kelly

[burlveneer-music]

Al Karpenter - Greatest Heads

Released by Hegoa Records and Night School Records. Greatest Heads is the fourth album by the radical Basque- Berlinesque group Al Karpenter. A deconstruction of structured “rock” music, here Al Karpenter re-imagine “the band” to explore the intersection between Free music, afro-beat, the avant garde and gonzo rock. If Theodore Adorno wrote “To Write Poetry after Auschwitz is Barbaric” in 1949, Al Karpenter attempts to answer the difficult question today; what kind of music can be done in the face of a genocide? Álvaro Matilla, Marta Sainz, Enrique Zaccagnini & Mattin’s response to the planet’s slipping into a vortex of hate is to create a music ecstatic, a music of protest bursting with multiple musical languages and glossaries, full of overlapping histories and thrilling tensions. Greatest Heads posits a plurality of musics both in opposition and intertwined: Al Karpenter play rock instruments pulled apart in the studio in post-production. Distorted rhythm chunks bit-crushed and dissipated, segments of freedom oppressed by waves of sound invading from every direction. The interplay between the chief instrumentalists and renowned, storied sound artist Mattin creates something akin to ESP freedom-seekers Cro Magnon playing in Miles Davis’ early 70s groups, The Los Angeles Free Music Society tightening up into a clenched fist of plunderphonics and runaway percussion. The band’s cascading layers of references and polyglottal musics attempt to create the perfect lover, alive with rage and disorientating ecstasy: Al Karpenter.  Álvaro Matilla: Voice, Guitar, Keyboards & Electronics, Zither Marta Sainz: Voice, Bass & Guitar Enrique Zaccagnini: Voice, Percussions, Korg MS20 & Daxophone Mattin: Voice, Double Bass, Computer, Guitar, Drums, Harmonium & Layout Design Special Guests: Mikel Xedh (Electronics A2 & Keyboards A5) Lisa Rosendahl (Vocals B4 & B5) " " [sic] Tim Goldie (vocals B3) Artwork made with stills by a film from James Richards

[dustedmagazine]

Listed: Al Karpenter

Al Karpenter was originally Álvaro Matilla (from Barakaldo). In 2014, Mattin started to collaborate with him and in 2022, Marta Sainz and Enrique Zaccagnini from Santander joined. They’ve spent the years post-COVID in a fever pitch of noise collaboration, working with fellow experimenters Sunik Kim, Dominic Coles and Triple Negative on their album The Forthcoming and with CIA Debutante on another self-titled disc. Jennifer Kelly reviewed both in August, writing that, “Al Karpenter swamps threads of song in seething banks of noise and dissonance. You find yourself focusing on blaring surface noise, while sense and melody percolates somewhere underneath.” Here Mattin picks ten boundary-pushing favorites.

El Inquilino Comunista — “Cruel Off” (1992)

This track was actually in their first tape, which for me, was probably the best thing to come out of Getxo Sound, a small noise rock scene that happened in my hometown around the early 1990s. I remember getting this cassette and being blown away. I got inspired to see that there were bands doing things like this in my surroundings. Then I found out about other great bands like Cancer Moon, La Secta, Lord Sickness and Pop Crash Colapso. Now some of the members of El Inquilino Comunista play in other bands like Basurita and Trampas (where my very good friends Piji and Pablo play).

Hanne Boenisch — A Journey to the North Pole: A documentary about the Scratch Orchestra and Cornelius Cardew. (1971)

This documentary portrays the last tour of the Scratch Orchestra and the heated debates that they were going through, but also it documents the amazing experiments and street concerts that they were doing. After this tour, a split happened between the more Maoist-influenced section called the ideological group around Cardew, John Tilbury and Keith Rowe and the more anarchist and performative tendency that went into forming the Slippery Merchants. The tension between the artistic and ideological parts and their split reminds me of the division that occurred with Situationist International in 1961, in Gothenburg, where all the artists were expelled from the group.

Junko — Sleeping Beauty (2002)

I heard this record at Taku Unami’s house when I was on tour in Japan for the first time in 2004. I knew Junko from Hijokaidan, but this solo recording really cut through everything that I listened to before. It could be said to be concrete poetry or noise, but for me is something else that takes an existential level. What are we as humans when communication becomes only lubrication for commodification? This is not a form of primal scream but rather an expression of the impossibility of meaningful existence under capitalism.

Parmentier — Luxsound: 5 Untitled (1998)

Rosy Parlane and Dion Workman formed Parmentier when Thela — the New Zealand noise rock they both had with Dean Roberts — disbanded after a legendarily chaotic concert in New York in 1997. Parlane and Workman left their rock instruments and started an excellent electronic label called Sigma Editions and their band Parmentier. I saw them live in 1999 at the Sprawl in London, and I was so moved by this amazingly precise electronic music but made with a New Zealand noisy attitude which gave it a very warm character. I ended up becoming very good friends with Rosy, Dion and Dean and collaborating with all of them on different occasions.

Constant Pain — Demon Lover

Another band from New Zealand with Cameron Bain, Greg Cairns and Roddy Pain.

Cameron lived in London and used to play in the bands The Mean Streaks and Heliogabalus with Matthew Hyland (of Triple Negative). Roddy also had a short-lived band called Evil with Liz Matthews and David Mitchel, which was simply incredible. Both Cameron and Roddy took the rock spirit seriously, unfortunately to its ultimate consequences. Noise rock made with love and integrity.

Roberta Settels — “Landscape With 3 Tape-recorders And…” (1985)

I got this record, Isolation! Meinhof In Memoriam, when I was living in Stockholm, and I thought it was the coolest record ever. Settles self-published it on her label Music in Crisis after Caprice Records — an institutional label part of Musikverket (Swedish Performing Arts Agency) — refused at the last minute to publish it because they were scared of the political message of the record. Some of it reminds me of what the composer Bernhard Günter was doing in the 1990s but without any of the esoteric connotations. For me, this is a great example of how avant-garde music can meet radical politics.

Batile Alake — The Waka Queen

When Xabier Erkizia and I got to Lagos in 2014 to record Billy Bao’s Lagos Sessions, the first thing that we did was to go to Jazzhole record shop. The owner Kunle Tejuoso started to play us all these amazing records of Sakara, Apala and Waka Music at full volume, and Alake really struck a chord in us. For some reason, later on, Kunle would not tell the name of Alake as if she were some sort of sacred secret. Somehow, we managed to find out who she was, and since then, we have been in love with her.

Petrona Martinez — Le bullerengue (1998)

After that experience in Lagos, I have been searching for similar sounds that focus on percussion and voice in other places by tracing Afro-Caribbean music. The first thing that I got into it was Cuban rumba, especially Muñequitos de Matanzas. A couple of years ago, I was hearing a DJ session of Amuleto Manuela, an incredible Colombian DJ based in Berlin, and she played Petrona Martinez which is bullerengue from Colombia, and this got me into similar forms of music like Puerto Rican Bomba of el tambor from Venezuela.

Gérard Lockel — Gwo Ka Modènn (A.D.G.K.M - 1988)

Another interesting musical genre from the Caribbean is Gwo Ka from Guadalupe.

I discovered Gérard Lockel when I was researching Bèlènou, a fascinating group from Martinique mixing traditional Bèlè with avant-garde approaches. Bèlènou was founded by Edmond Mondésir and Léon Bertide, and I read that they were influenced by Gérard Lockel, so I went to the source, and it was life-altering. I quickly found out that I was not the only one deeply touched by his music, his records cost between 300 and 600 euros on Discogs.

Elvin Brandhi — Shelf Life (2019)

My friend Miguel Prado mentioned Elvin Brandhi, and she is doing some of the best stuff that I heard lately. She is collaborating with incredible artists and travelling all the time. A noise nomad and a fantastic improviser. The first time that I saw her was with Yeah You — the group that she has with her father — at an empty shopping mall in Glasgow as part of the extraordinary Counterflows festival, and it was magnificent. As far as I know, this is her only solo record.

[streamblank]

Byron Coley's records of the day

Byron Coley’s records of the day

Long time supporter of the label (our 1st review ever was a size matters mention in the wire magazine for the Junior Makhno single) Byron Coley has been talking about the Al Karpenter Lp here https://twitter.com/ByronColey1/status/1456635390572568580 And Terrine’s follow-up to Cheat Days, Les Problèmes urbains. https://twitter.com/ByronColey1/status/1438220704743370759 thanks to him! and…

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