Hominine parts 4 to 6
Doc Wör Mirran are among the very few bands on this planet that can pull off a combination of jazz, harsh noise, and danceable pop beats not only on the same album, but actually within one and the same track. This is thanks to their unique approach to improvisation. They are perhaps 'more free' than other exponents of so-called free improvisation because they are not shy of using explicitly poppy and melodic structures as well as self-consciously non-musical sounds and noises.
The three tracks of this album, all created in one live session on December 3, 2017, show perfectly well how DWM achieve this remarkable feat. It's due to their courage in inviting the most diverse kinds of sound artists to join their collective sessions, and allowing everyone involved to play according to their very own ideas about sound.
In this, the 178th release of Doc Wör Mirran, the line-up consists of DWM founder and anchor man Joseph B. Raimond and his regular band members Stefan Schweiger and Michael Wurzer, plus “corresponding member” Adrian Gormley who gives fluid, jazz-inflected performances on the saxophone, but also adds some noisier textures by manipulating a plastic bottle. The session guests are two of the most prominent exponents of the European noise/sound art underground. Frans de Waard from the Netherlands uses a radio receiver and cassettes as generators of cut-up/white noise, while Sascha Stadlmeier (aka EMERGE) from Germany supplies abstract noise-based structures using samples, as well as various processed electric guitars.
Given the rather heterogeneous nature of the approaches that collide in these tracks, the transitions are remarkably smooth. Listening to this album is like a slow ride through a landscape that at first looks familiar, but then, gradually, turns into a completely different planet.
File under: free improvisation, noise, jazz
factory-produced CDr in cardboard sleeve
Released in 2021
limited to 100 copies
price: 7.00 EUR (excl. postage)
Adrian Gormley – sax, plastic bottle
Sascha Stadlmeier – samples, bass, ekelele, objects, voice, effects, insert
Frans De Waard – radio, cassettes, electronics
Stefan Schweiger – samples, teramine, percussion
Joseph B. Raimond – guitar, synthesiser, loops, ink drawings
Michael Wurzer – synthesiser
Recorded December 3rd, 2017 at Two Car Garage Studios, Fürth Germany.
All cover art by Joseph B. Raimond from the Hominine series of ink drawings, 2019.
As always, in loving memory of Frank Abendroth and Tom Murphy.
This recording is dedicated to Dave Riley
This is DWM release # 168
Doc Wör Mirran:
It’s hard to believe that Doc Wör Mirran has 178 releases under their belt. The more you think about it, the more unfathomable it is. But it’s true. They do. Their 178th, ‘Hominine Parts 4 to 6’, has to be one of their strongest too. For 43-minutes it’s a constantly moving piece of free jazz noise. As usual Joseph B. Raimond is at the helm, along with Stefan Schweiger, Michael Wurzer and Adrian Gormely. They’re also joined by Frans de Waard and EMERGE. These two guest spots give the music a slightly different vibe. de Waard brought swaths of cut-up white noise through radio receivers and cassettes and EMERGE supplied abstract noise compositions that utilise guitars, samples, and anything else close to hand. The resulting album has moments of absolute joy, underpinned by dank soundscapes.
This is typified on ‘Hominine Part 5’. Opening with abstract electronic sounds, the song slowly starts incorporating all the things that make Doc Wör Mirran great. Shronky horns, random sounds appearing, then vanishing never to return and abstract loops. About a third in the sound of a radio slowly being tuned in an out starts to make an appearance. As the sheer randomness of ‘Hominine Part 5’ starts to build as does this feeling of malaise. At first, you don’t notice it, but a feeling of oppression, and claustrophobia, starts to build. By the time, the final third kicks in it’s all-consuming. However, something is comforting about the oppressive nature of the music. As it is all-consuming you don’t really have any room to focus on anything else. It slowly draws you into its seething mass of feedback and short horn blasts.
The three tracks that make up ‘Hominine Parts 4 to 6’ were recorded in one live session in December 2017. As the tracks were improvised live, the album has a real immediacy to it. There is a sense of urgency to it too. Will it go wrong? Will it be something seminal? Will the song ever end, or will the band be locked in the groove forever? Luckily, the players display the right amount of disdain and respect for the listeners. They give us exactly what we are after but also a massive dose of things we aren’t. It’s pretty playful in places too. Doc Wör Mirran has never shied from incorporating beats into their dissonate soundscapes. On ‘Hominine Part 6’ they do this again. There is something delightful about listening to things abrasive, that also has a nice bouncy beat to it. Overall ‘Hominine Parts 4 to 6’ is an excellent list that mostly delivers what it sets out to. Yes, some moments don’t work as well as you’d hope, most notably ‘Hominine Part 4’ is more miss than hit, but it’s still a captivating listen. But after 178 releases we’ll cut Doc Wör Mirran some slack…
Die Kollaboration von Sascha Stadlmeier und DOC WÖR MIRRAN ist zeitweise - von "24.3.16." über "Roadkilled!" (23.7.16), "Alternative Facts" (14.10.17), "Un-Art-Ed" (23.10.17) bis "Hominine Parts 1 to 3" (3.12.17) - zur Konstanten geworden und hat als Fellow Travelling auch weiter Bestand. Hominine Parts 4 to 6 (ACU 1031, CDr) ist die Ausbeute der gleichen, bereits in BA 105 gewürdigten Session im Dezember '17, mit Stadlmeier und noch Frans De Waard als Gästen von Joseph B. Raimond und seiner unverwüstlichen Crew in Fürth: dem Saxer Adrian Gormley, Stefan Schweiger an Samples, Theremin & Percussion und Michael Wurzer an Synthesizer. Raimond unterstreicht den Zusammenhang der DWM releases # 168 & 178 mit weiteren seiner nicht gerade schmeichelhaften 'Ecce Homo'-Bilder. Nicht ohne diesmal Dave Riley (1960-2019) zu gedenken, der Bass bei Big Black gespielt hat. Die wieder wiehernde Mähre wie aus Füsslis Albtraum lenkt die Wahrnehmung dieser intuitiven Elektroakustik in das uferlose Flussbett von Dreamscapes. Mit knarzendem, scharrendem, knurschigem Noise in Kaskaden und Schüben, in grob-körnigen und in Blubber-Wellen, mit euphancholischen Synthidrones und verhallendem Klingklang wie von einem Bahnübergang. Zu metallenem Gedengel leuchtet zirpender Reedsound auf, der ebenfalls Wellen wirft in diesem Mashup an Effekten, dessen psychedelische Anmutung zunehmend Wirkung zeigt. Zickzack durchkrakelt den Stereoraum, Metall wirft Zitterwellen zu der rau scharrenden, von garstigem Vogelschrei bekrächzten Dominante. Gormley bläst weiter sein Sax in Delaywellen zum fadenscheinigen Auf und Ab elektronisch sirrender und surrender, auch wässrig plätschernder Klang- und Hirngespinste. Die harsch zerbersten und dumpf detonieren, während einem Radiosamples um die Ohren fliegen. Der dritte Part bringt launige und schrille Saxerei zu cool pochender Drummachine, überrauschten, komisch verzerrten Stimmfetzen, Einwürfen von Raimonds Gitarre, krachigen Loops und Schleierwolken. Der Beat verkümmert, das Surren und Rauschen stagniert, doch eine Kurbelwelle dreht den Puls hin zu verzerrter Gitarrenmelancholie, bis eine allein gelassene Klopfspur das Ende für sich hat.