“Take the Refuge in the Unknown” by Nakano – Kristof – Raia – Sato Quartet
When I saw Michel Kristof’s name associated with this music I was, of course, immediately interested. I’ve reviewed other music of his (including Other Matter, and other matters on this very page) and he never disappoints. Another name – Antonio Raia – rang a bell. I couldn’t find anything on my website, so I went searching the vast Trapezoid archives and discovered I had reviewed one of his albums a short while ago (OK, ten years ago) for another (now defunct) website. I’ve reposted that review here.
Off to a good start and I hadn’t even heard a note yet. For this live, 4-part performance Michel and Antonio are joined by Makoto Sato (on drums) and Maki Nakano (on alto sax). Part 1 is very sparse; it sounds like the musicians are feeling each other out a bit. Not sure if it was the intent, but I have convinced myself that Part 2 moves us through the first four stages of grief (denial, anger, bargaining and depression). It starts with some mournful sax, builds to a squall of noise, quiets, and then starts to build again. And if I’m right about grief stages, Part 3 would be the acceptance phase, with some nice sax interplay that builds to an almost a Sufi trance vibe. Part 4 feels a bit more freeform in the path it travels, but never overly cluttered. Overall, a splendid performance by all involved.
“Astarte” by Michel Kristof and Wayne Rex
I’m going with last things first on this album from Michel Kristof (*mostly heavily distorted* guitar) and Wayne Rex (drums). Final track “The Dove” has some really nice, swinging drumming from Rex. Meanwhile, Kristof sometimes overwhelms that with his guitar freakout, and at other times plays more discreet distorted guitar that really creates a nice interplay with the drumming. It’s excellent. And there’s more excellence on the preceding songs, which features drumming that can be anywhere from beat oriented to more complex jazz explorations, and guitar playing that can be experimental, psychedelic, free jazz, or space rock at any given moment. As for that album title, I understand Astarte is a goddess of both war and sexuality. That album cover would suggest the latter, but you may hear elements of both here on her album.
“Corruption Industrielle de la Nature” by Bile Router
Before hearing a note, this one filled me with great anticipation. Just the band name Bile Router hinted at what I might hear. Then I saw that the two members of the band are known (and Trapezoid favored) quantities: Michel Kristof (guitarist with Other Matter and other entities) and Jay Reeve (C-Suite executive with the mighty MuteAnt Sounds label and, here at least, electronic wizard). Then there’s the record title which translates to “Industrial Corruption of Nature;” it’s probably not going to be some easy listening dross.
So did I build this up just for a big letdown? Quite the opposite. The first song (“everything is under our incompetent control”) gives us a great opening statement of big experimental/industrial musical anger, dissatisfaction and frustration. There’s lots of heavy bass drum beating, distorted guitar, and “de-programming” of noise. Next, “malformation of the fetus due to pollution” gives up more of that heavy drum and noise, and also mixes in some sound that could almost be deconstructed roller-rink organ. The awesome, rumbling, heavy percussion is pretty constant throughout the rest of the songs, as is the guitar. Kristof’s playing is a crucial part of all this. Sometimes it’s but a part of the noise maelstrom, sometimes it’s more prominent; sometimes is a more driving power force, some it’s almost more of a jazz workout. It all adds up to a heavy, heavy contre sound.
“LIFE” as MFKS Approach
I’m always happy to share music from a Trapezoid favorite; in this case it’s by Michel Kristof. He’s previously appeared on these pages as half of the wonderful Other Matter. For “LIFE” (as MFKS Approach) we have just a boy and his guitar…and his occasional distortion. Overall it feels like someone trying to figure out all the ways they can play aside from strumming out the old 1-4-5, and Kristof figures out quite a few ways. On any given track you might hear playing that’s minimal, abstract, aggressive, messy, distorted, and/or playful. I guess that’s life.