This is a saxophone noise tape; (specifically, it’s amplified saxophone and vocals ran through various effects) and I don’t wanna hear any lip about it. There’s a real flavorless streak in noise that hates on saxophones and “traditional” instruments in experimental music in general, but I’m not interested in coddling their militant anti-musicality.
I met Kyle Press in 2008, when I saw his freak-rock band The Love Club for the first time. Kyle always seemed like the most inventive person in a room full of rockers, if that makes sense. In all of the bands he’s involved with (Impressionist, OhBree), he’s constantly pushing the sound further “out-there” and the results have been often excellent and always interesting. In parallel, as a active participant in Philly’s vibrant free jazz / improvisation scene, Kyle has reliably pushed against the more academic trappings of the genre; focusing on creating giant walls of sound rather than re-contextualizing jazz/classical norms in an improvisational environment.
I’m extremely excited to release Kyle’s debut solo release “Overtones, Drones, and Saxophones”- a ripping and assured response to my curiosity about what sort of music he might make if left entirely to his own devices. The saxophones in question are run through a bunch of effects pedals and cranked, accompanied by atonal synth squeals, and contrasted by Kyle’s vocals, which range from throat singing to guttural screams. This tape is austerely recorded, it’s meandering and meditative. Kyle’s mastery of the instruments used creates a loving and thoughtful amplification of the full range of potential sounds. A really fucking great tape, an eminently listenable sixty minutes of your time well spent.
If you hate saxophones, maybe this isn’t for you, but I’d challenge you to like, free your mind, man; everything good doesn’t have to go thru a MetalZone. (Note from the artist himself: “Also pro metal zone comment. Also almost used Alex Wilson’s modded Metal Zone (the Meta Zone) on this album, lol. MAYBE NEXT TIME”)-R.A.E. (4/2/19)