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(FMP CD 32)
This 75-minute solo album is a companion record to "Nothing to Say," showcasing Peter Brötzmann's tremendous range as an improviser and sonic architect. Particularly noteworthy for the lovely bass clarinet outings, one evoking Eric Dolphy, and the strong melodies throughout that feel forged in fire.
"Brötzmann does not fall back on window-rattling free-form sonic assault as much as one might expect, but instead works his alto, bass and tenor saxes into frenzied stretches of vaguely tuneful, and highly acoustically and spatially staggering, improv soundscapes exploring the deepest, most cavernous arenas of his instruments. On Nothing Brötzmann reveals himself to be an aesthete less in the distinct realm of obvious comparisons Ayler and Braxton, and more comparable with fave Lol Coxhill. The purity and directness of the playing is in a similar vein, causing one to perhaps evaluate Brötzmann as – somewhat surprisingly – one of the few, prized active tunesmiths of our times who – like fellow genius experimentation luminaries Loren Mazzacane and Keiji Haino – completely comprehends and masters that seemingly minute, yet truly massive, space between one note, and the next."
- Forced Exposure
"No Nothing, is not the exercise in nihilism the title and his more aggressive moods suggest. Alternating between various-sized saxophones and clarinets, a Hungarian tarogato, and a Brötzophone of his own devising, he builds pieces out of his idiosyncratic techniques – multiphonics, split and distressed pitches, determined ragging of intervals, and a variety of tones that bray, bite, or merely murmur. You may hear, in this music, similarities to Balkan, Tibetan, Chinese, and Indian reed musics, but I suspect these are not conscious influences but rather common forms of expression that, whether melancholic, angry, tender, or confused, are undeniably human."
- Art Lange, For Ear Magazine
"Listeners who only know Brötzmann through his early Sturm und Drang masterworks like Machine Gun and Nipples or with his full-throttle contributions to the free/metal band Last Exit might be surprised at the reticence displayed on much of this solo recording. There's some fire breathing to be found, but there are also more deep and thoughtful ruminations than one might expect. "It Is Growing Dark" has strong echoes of Coltrane's "Naima," while "Magogagog" is a bass clarinet workout redolent with the blues. Each performance on the disc is concerned with a certain "sound territory" which is explored with probity and passion. If that exploration calls for unbridled screaming, so be it. But if it calls for a nod to Eric Dolphy as on the vibrant, occasionally boppish "Cold Moon", no problem. One aspect this album shares with all of Brötzmann's work is a deeply sincere baring of the soul with no artificial guises and no self-pity. Recommended for the adventurous listener."
- All Music Guide
This album is a visceral experience. With the world spiraling as it has in the past couple of years this album has been one of the only sources to match the frenetic intensity of my internal landscape. It beautifully articulates the cascading nuances of heightened emotions and creates a language that goes far beyond the pale of mere words. A work of genius that isn’t shy to be what it is without a shred of pussyfooting. Past Tense Future, yes indeed. it’s a ripper! MORE M.G. ON VIYNL PLEASE! joe-country