Colin Stetson - New History Warfare Volume 1-3 '2007-2013

Tracks list

:: TRACKLIST ::

New History Warfare Volume 1
1. And It Fought To Escape (08:19)
2. Stand, Walk (01:29)
3. Groundsmell (01:38)
4. Time Is Advancing With Fitful Irregularity (07:06)
5. Drown The Rats And Giants (01:13)
6. As A Bird Or Branch (04:13)
7. OHP (00:37)
8. Quincy Had A Glandular Problem (01:37)
9. Nobu Take (04:52)
10. Tiger Tiger Crane (03:13)
11. Letter To HST (03:15)
12. Our Heartbreak Perfect (11:02)

 This needs to be said up front: Colin Stetson is an absolute master of the
saxophone. He has formidable breath control and circular breathing technique, a
great sense of dynamics, and extremely impressive control over multiphonics and
timbral changes: he can basically do anything that can be done with a saxophone
(and maybe some things that cant). Although there is just a touch of studio
treatment on a couple tracks and sampled, spoken intros to a couple more, New
History Warfare, Vol. 1 is essentially an album of solo saxophone performances
with no overdubbing. But this is no platform for free blowing and empty
showboating; these pieces are clearly through-composed. Whether the track is one
minute long or eight, there is an easily discernible structure, clear logic, and
a strong sense of forward momentum to each of these tunes. Stetsons ability to
build separate musical lines on top of each other is nothing short of
astonishing. Its something like Rahsaan Roland Kirk playing two different
melodies against a drone, except Kirk did it on three horns and Stetson is doing
it on one.

And It Fought to Escape is a perfect encapsulation of Stetsons style. It begins
almost imperceptibly as a percussive pulse is established with the saxophone
keys playing against a breathy background. He then adds bits of melody on top
until he is having a conversation between different registers of the saxophone
while somehow maintaining the pulse. The breath control and dynamics are
amazing, as are the sounds he makes with his saxophone. Switching gears,
Groundswell almost sounds like a flute/bass duet at times. On Nobu Take,
Stetsons clarinet sounds more like a keyboard, simultaneously evoking Eastern
European folk music and electronica, while Tiger Tiger Crane begins with what
sounds like beatboxing through the sax. But Stetsons musicality far outweighs
any notion of gimmicks. The pieces are deeply focused and never overstay their
welcome. Not only that, but the strong structures and internal logic of the
pieces make them far more listenable than many so-called avant-garde recordings.

New History Warfare, Vol. 1 is a truly impressive, fully formed, and highly
individual musical statement. Its amazing from a purely technical standpoint,
but Stetsons compositions and ability to tell a musical story are what make this
a great album. You havent heard saxophone music quite like this. No one else
could have written this music because no one plays quite like Colin Stetson.
Truly impressive. Evan Parker fans, take note: this guy is someone to watch.

New History Warfare Vol. 2: Judges
01. Awake on Foreign Shores (01:30)
02. Judges (05:13)
03. The Stars in His Head (Dark Lights remix) (05:30)
04. All the Days Ive Missed You (ILAIJ I) (01:15)
05. From No Part of Me Could I Summon a Voice (02:15)
06. A Dream of Water (03:35)
07. Home (03:12)
08. Lord I Just Cant Keep From Crying Sometimes (04:49)
09. Clothed in the Skin of the Dead (03:40)
10. All the Colors Bleached to White (ILAIJ II) (00:36)
11. Red Horse (Judges II) (02:57)
12. The Righteous Wrath of an Honorable Man (02:27)
13. Fear of the Unknown and the Blazing Sun (02:42)
14. In Love and in Justice (04:53)

 Colin Stetsons 2008 album New History Warfare, Vol. 1 showcased the
saxophonist/multi-reedists phenomenal multiphonic improvisation style and
circular breathing technique. Released in 2011, New History Warfare, Vol. 2:
Judges features a similar exploratory solo saxophone approach that is nothing
short of mind-blowing. Stetson uses the circular breathing style, recorded in
single takes and occasionally with overdubs, to create atmospheric and hypnotic
loops that sound like layered analog keyboards more than saxophones. In that
sense, the tracks here often bring to mind something along the lines of Jean
Michel Jarre crossed with Roscoe Mitchell. These tracks allow Stetson to skronk
and pulse, wheeze and then soar with white jet-engine noise that is never
purposeless and always controlled. Also featured here are a few spoken word
sections with avant-garde icon Laurie Anderson -- including the poetic A Dream
of Water -- that lend a cinematic quality to the proceedings. Elsewhere,
vocalist Shara Worden delivers a haunting lead on the spiritual Lord I Just Cant
Keep from Crying Sometimes. Primarily, however, it is Stetsons transcendent and
muscular ability to layer sound, breath, and rhythm in a meditative
compositional style that sticks with you long after Judges is over. 

New History Warfare, Vol. 3: To See More Light
01. And in Truth (01:33)
02. Hunted (05:51)
03. High Above a Gray Green Sea (04:25)
04. In Mirrors (01:25)
05. Brute (02:55)
06. Among the Sef (Righteous II) (04:35)
07. Who the Waves Are Roaring For (Hunted II) (04:07)
08. To See More Light (15:07)
09. What Are They Doing in Heaven Today? (03:36)
10. This Bed of Shattered Bone (02:08)
11. Part of Me Apart From You (05:51)

 Improviser and composer Colin Stetsons solo work is characterized by dense
sheets of saxophone/woodwinds that present a similar approach as loop-based
music while being recorded in single live takes with no overdubs. This unique
and challenging discipline calls on elements of jazz, modern composition, and
even aspects of repetition and textural drone found in certain branches of
electronic music and noise. With New History Warfare, Vol. 3, Stetson explores
scorched landscapes and heavenly scenes alike with his stylized playing. He
spent time collaborating with Bon Iver, and singer Justin Vernon returns the
favor and contributes his signature falsetto vocals to four songs here -- these
vocals are the only overdubs on the album, though detailed production by Ben
Frost would lead listeners to believe otherwise. 

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