New York Music Daily

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Tag: kills to kisses

Wild and Rapturous Improvisational Magic in Ridgewood on Super Bowl Sunday

As yesterday’s wryly named Super Bolus at Footlight Bar in Ridgewood got underway, it felt strange just to sit and watch  Typically, improvising musicians all end up playing with each other. Fifteen minutes into the show, that moment appeared. The long trip to the Cloisters a couple of weeks ago to jam a Pauline Oliveros chorale turned out to be useful practice!

After a duo set with trumpeter Daniel Levine, where Rallidae tenor saxophonist Angela Morris had introduced a jaunty Mardi Gras theme of sorts and the two had gracefully  intertwined with it, eventually taking it down to misty ambience and then back, she left the stage and went into the crowd.

Drawing us closer to her, she led what seemed for a minute to be a ditzy yoga mantra – “Beauty is above me, below me, around me,” that sort of thing. Instead, it turned out to be a round where she encouraged everyone to sing either a specific part or a sustained note. The resulting web of voices and close harmonies that converged on a warm center was as otherworldly as it was fun to be part of. In moments like this, there’s no thinking involved. Anyone can do it: the music tells you what it needs, all you have to do is pay attention. That’s pretty much what everybody on this often rapturously fun bill did in over three hours of music. 

As organizer Dave Ruder put it, the premise of the show was either improvisation, new material or reinventions of previously released compositions from other members of the Gold Bolus circle.

Anne Rhodes of Broadcloth joined voices with Anais Maviel, who anchored Sam Sowyrda’s virtuosic vibraphone work on the evening’s next improvisation with her minimalist pulse on a small-scale kora lute. Rhodes’ full, emotive soprano contrasted with Maviel’s more low-key nuance and extended technique, trombone and trumpet-like sputters included, while Sowyrda rippled and pinged and bowed his bells for sepulchral textures, at one point taking the music so far down that it was almost imperceptible. That, or he was just messing with the audience.

Kills to Kisses leader and bassist Lisa Dowling blended haunting Middle Eastern allusions and fiery but terse flamenco riffs into a dynamic set of Kate Bush-inflected art-rock loopmusic. Arguably the high point of the show was when oboeist Dave Kadden, of Invisible Circle, played volleys of microtonal tension against a central tone, his diabolical. virtuosically jajouka-esque phrasing manipulated by a guy with a laptop, which sometimes worked, and sometimes didn’t. By itself, the echo effect wasn’t ultimately even necessary, although admittedly it did add a deliciously dark resonance. This was a relentlessly searching, imploring call to arms. Amir ElSaffar played a very similar one of these solo on trumpet at a gig earlier in the year and this was every bit as inspiring. Clearly, it’s a meme among players of wind instruments.

Singing and playing guitar, Ruder – joined by Dowling and saxophonist Erin Rogers, on soprano – had fun with a number about being unable to move in a straight line, literally and metaphorically. Solo on accordion, Brian McCorkle sang a dadaesque, viciously sarcastic Rogers suite on a love-versus-money theme, and had a great time chewing the scenery: the audience loved it. In contrast, the trio of Morris, Sowyrda and keyboardist Ellen O ended the show with a raptly Eno-like ambient soundscape.

This show was typical of the Gold Bolus stable. Many of the artists lean toward the theatrical or performance art; their home base is the Panoply Performance Lab space in Bushwick. And Dowling is at the Gateway, 1272 Broadway in Bushwick on Feb 23, time TBA. Take the J to Gates Ave.

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Lisa Dowling Holds the Crowd Spellbound with Kills to Kisses

Bassist Lisa Dowling‘s chops on the four strings are well respected throughout the far, adventurous reaches of indie classical, postrock and improvised music. What was most striking about her solo show last night at Spectrum was how dynamic and powerful a singer she is. With split-second timing and the help of her trusty loop pedal, she held the crowd rapt, building an eclectic set of both vocal numbers and instrumentals that drew on styles as diverse as art-rock, 90s trip-hop, acid jazz and horizontal music.

Much of the material was taken from her Kills to Kisses album Lullaby Apocalypse. While some of it brought to mind Bjork in a more somber moment, or Kate Bush (the lone artist Dowling covered during her set), Dowling has a distinctive, individual sound. There are other bassists who play loopmusic – notably Florent Ghys – but Dowling relies far less on electronics and uses her bow more. The result was as darkly hypnotic and enveloping as it was kinetic.

Throughout the set, Dowling employed all sorts of extended technique for whispery, keening harmonics, or sudden bursts or shrieks that she’d sometimes run mutedly through the pedal as a rhythmic device. As the loops circled around, she’d often manipulate the timbre or volume while adding additional harmonies or textures overhead. That intricate approach contrasted with the starkness and directness of her lowest-register melodies. Her vocals were similarly diverse, ranging from jazzy scatting, to moody and plaintive, to a full-gale wail. The one number that she shrugged off as her lone venture into dance-pop turned out to be a detour into elegant trip-hop, in the same vein as Mum or Eve Lesov‘s early work.

Dowling’s cover of the Kate Bush cult classic Babushka began as a spare, aptly Slavic folk-tinged dirge, eventually reaching towering, dramatic proportions, a platform for Dowling to air out her voice’s highest registers as she reached for the rafters. One of the strongest songs in the set was a new one, awash in tersely atmospheric, Julia Kent-ish gravitas. Reverberating deep-space echoes sat side by side with flitting, sepulchral textures. The concert came full circle at the end with a dreamily pulsing art-pop number. When there were lyrics, they tended to be clever and playful. Dowling is probably the only artist to ever use the latin pronoun “quo” twice in the same song without sounding pedantic. She’s at Cake Shop on August 1 at 10 PM; cover is $8.