Improvisational experimental music, beyond being a mouthful to say or write, has probably as many meanings as it does listeners. But experimental improv music — or whatever you may call it — has grown on me since I began writing this blog. Maybe its the fact my kids leave me alone when I play it, but most likely its the uncertainty of what lies ahead in the soundscape as the track moves forward.
Lee Noyes and J.C. Combs collaborated on Confessions of a Deviant Machine, an improvisational experimental album, recently released on the superb netlabel con-v. My guess is this collaboration was over the internets as Noyes hails from New Zealand and Combs from the States, which in itself leads to an interesting question, “How does one attempt improvisational experimental music in such manner?” One of the issues in describing improvisational music that a statement like “the track swings from ambient styling to straight-up noise” might be a truth, but it is far from the complete truth. What makes an album like Confessions of a Deviant Machine interesting to me is the amount of latitude the artists have and use. Maybe the “liking” of various experimental improvisational music is much like Justice Potter Stewart’s recognition of hard-core porn, ” . . . I know it when I see it.” For me, I know when I like a record when I like it, and I really like Confessions of a Deviant Machine.
Lee Noyes and J.C. Combs’ “Ominous Forecast” (mp3)[audio http://www.archive.org/download/cnv68/cnv68_-_lee_noyes-j_c_combs-_-02-ominous_forecast.mp3|artists=Lee Noyes and J.C. Combs|titles=Ominous Forecast|animation=no]