Frownland

In this journal, I'm going to review some albums that I enjoy. For those of you who know my taste you're aware of the interesting ride that you're about to take. I may go beyond albums and throw a couple movie reviews or get drunk and rant about something, so as to keep it in one thread. For now, I'll be sticking to music.

Given my egotism, you're likely to hear about my music, and it'll probably be pretty detailed, so expect that at one point. Free jazz, modern classical, noise music, avant-garde music, hip-hop, psychedelic, prog, and anything other artists in a given genre that really strikes my fancy will likely be covered in this journal as well.

My first entry will be coming soon. So to set off this journal, I'll leave you with a painting by the infamous Pollock called White Noise. It was originally on the cover of Ornette Coleman's Free Jazz: A Collective Improvisation and I must say that its very fitting for both the album and the incoherent rambling sure to come in this thread. "Out of chaos, intuition and freedom, beauty will emerge."

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Goofle

Yay.

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Frownland

I am going to review, you guessed it, a bunch of Peter Brötzmann live videos that I watched courtesy of Youtube. Brötzmann is a German saxophonist became a core member of the first wave of European free improvisation and he is active to this day. His style is heavily influenced by Albert Ayler, which is mainly shrieky tenor sax. However, Brötzmann employs a lot more cacophony and sheer insanity from all the other instruments. On to the first reviews, which I will do in three parts.

Peter Brötzmann Quartet - Improvisation 10/17/1974 (Part 1/3)



This quartet has Brötzmann on reeds, Paul Lovens on drums, Alexander von Schlippenbach on piano, and Peter Kovald on the contrabass. This performance starts with a jolt as the bass, piano, and drums crash into each other as Brötzmann ferociously shrieks into his sax. He really knows how to make that thing wail. Peter Kovald bows his bass to make some screechy noises as well by grabbing his strings and bowing intensely. Alexander von Schlippenbach is on a grand piano and his playing is all over the place in a good way. He makes sure to blend low and high notes as sporadically as possible. Lastly, we have Lovens on a very interesting drum kit. I see the usual snare, kick, and toms, but he also has a bongo, cymbals that have been beat to hell, as well as a bunch of toys that Kovald uses to expand his kit.

After about a minute of improvisation, Brötzmann breaks into a solo that showcases his standard style. Too many notes to follow, squeaks and squeals ringing all over the place, and bam! the rest of the band joins in. Lovens is now placing pie tins on his snare and tom, which makes his drumset more clattery. Oh look at that, I see why his cymbals are all beat up now.

Another minute or so of improvisation goes by in this manner and Schlippenbach breaks into a great piano solo, similar to the style that he plays in thoughout the video. Then Kovald joins in on the fun and plays some screeches to to Schlippenbach's fluttery piano with the drums following. Loven's drumming is awesome, he's using a cymbal on top of his drum, as well as a woodblock, that's creative.

Things start to slow down, and Brötzmann joins in on the clarinet. At first Petey needs to step closer to the mic when he plays a long line of low notes, but then the squeaks come and he plays that thing like he's going to make it pay for what it did. There's some great Brötzmann/Kovald trade off on here.

The video ends kind of abruptly in this scene. These guys are mad musicians and this video has me itching to watch the next. I'll be covering it in my next journal entry. For now, here's another painting that I like. It's a Man Ray painting called Portrait of Alfred Stieglitz.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Trollheart

Frownland, your mortage from the Bank of Journaltown has been passed and approved. Welcome to your new home. Great to have you here. When's the housewarming, and should I bring a bottle? I'll bring a bottle.

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Trollheart: Signature-free since April 2018

Frownland

Now we move on to the second part of the 1974 improvised performance, which picks up where the last one left off.



Old Brötzy has his clarinet a-wailing while Kovald responds with some of his stylistically abrasive bassities. As Kovald cleans plucks away the broken and shredded strings from his bow, Brötzmann begins to deconstruct his clarinet and using his hands as a wah to get some more interesting clarinet noises. First he takes off the bottom part, then he goes on to remove the top part as well while still playing the mouthpiece. He plays some really sick stuff during the deconstruction while the band carries on the song in its usual state of ear shattering cacophony but this time, Schlippenbach's piano increases its dramatic flair.

Brötzmann hops back onto the sax after his interlude with the clarinet, and he starts to do some fantastic call and response improvisations (while it's kind of a basic idea for improvisation, many artists use it to great advantage) with Schlippenbach. All of these men are fantastic musicians, but it's clear that Brötzmann and Schlippenbach are in it to steal the show. More jimp-jumpy free jazz goes along and Schlippenbach starts to play his piano with a drumstick. There's nothing really noticably different when he does this, it just sounds like he's pounding down on a section of keys. There is one part where he does some very fast drumming and there's this clattering noise that coincides with his drumming, but then the camera switches over to Lovens playing a cymbal on his snare in a similar pattern. So I'm at a loss on who's making that noise, but that's free jazz for you.

Brötzmann takes a breather from the sax while the rest of the band does some more of the dramatic trade-off playing. I have no idea what Lovens is playing on his drums, but it looks like some kind of building material. Whatever it is, it's the best nontraditional addition to the kit in this performance. Schlippenbach kicks some ass on the piano for a few until Kovald takes the stage with a solo. It's more of the all-over-the-place grinding screechy bass that we hear throughout the rest of the show, but this does seem a little more focused. Maybe I'm just saying that because it's him solo and no on else is there to steal the spotlight. Lovens joins in on the drums by scraping his sticks together with one on the drum, making some pretty interesting noises that I think I might put in my pocketbook for personal use (any MB drummers know if there's a term for this technique?).

The video ends on the bass solo segment while Brötzmann starts to join in, but before he can get more than a few notes out, the show was cut for the third part, which I will be covering in my next post. I prefer this one to the first part, if only because it's more diverse.

Oh yeah, and here's another fucking painting. This one's by Giorgio de Chirico called The Archaologists:

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Frownland

And on to the third part of the video we've been following, and the last segment of the Brötzmann saga for now.



This one starts off somewhat slow, with more vague trade offs between the players, but then it starts building up. Brötzmann really wants to make his sax pay for whatever it did with some of his more trademark altissimo. So far, this one is easier to follow than the other two.

Lovens playing is the quickest, most sporadic, and interesting of the three videos. The band goes on in the typical Euro free jazz fashion until Brötzmann takes the lead again. However, this is less of a solo and more of a continuation of what he was doing before. Things slow down and Lovens throws down a recognizable beat (as opposed to a constant clattering/crashing) while Brötzmann plays along to it with squeaks. I think this is a sign that there is some semblance of structure because of the syncopation being pretty impeccable on this part.

Thins speed up again and I can barely tell what's going on. Now that's your typical Brötzmann track but this avoids melody and harmony even moreso than before. Back down to a slower rhythm and Schlippenbach wows us with what starts off as a classical(ish) solo. He has some incredible talent and shows his chops for semi-tonal music here. Damn is he fast. The rest of the group joins in again and it's great. Lovens making love to his cymbals without forgetting to pay attention to the other drums. Kovald's bow hangs on by a few horse hairs as his bass plays more of the high squeaky notes. Lastly, we have Brötzmann's blistery sax playing to tie it all together. We reach a very dramatic climax and the show ends.

This is a great quartet. They definitely have a lot of good chemistry when it comes to playing all the wrong notes the right way. I've always found free jazz to be a bit more enjoyable when I'm witnessing the music coming together spontaneously than listening to the recording. While this can be said with any genre, I think free jazz is the culmination of this mentality. As a musician myself, it's easier to identify with this music as it is difficult to make (don't let the "my five year old could play this crap" comments below the videos fool you, their child must be a genius or something).

My next entry will be an album review on a different genre, unless I decide on something because fuck structure. For this closer, I'm not going to post an art piece, but an intriguing image from the Hubble telescope.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Frownland

Well fuck me, I went to the greatest concert I've ever attended on Sunday the 6th. But I think I'll start from the beginning, in more of the standard journal format.

I found out about the concert in late March. I bought the tickets (25 dollars) almost immediately and simmered in anticipation for a couple of weeks waiting to see The Magic Band. The guy who told me about it was my friend Stryder, who is my best friend and also the other member of my group Wolves In Sheepskin. So we were going to the show together and also planned a little jam sesh beforehand.

Stryder came an hour earlier than expected on the 6th, which isn't a complaint on my part because I missed the fucker (he's still living in San Diego while I'm attending school upstate). Oh look at this, Stryder didn't just bring instruments, he brought party supplies! He had a fourth of some bomb ganja, a fifth of Maker's Mark, and a large pack of M&Ms. I only include this detail because that day, I went to the grocery store on a whim and bought some coke and a few Trader Joes chocolate bars. Well this was obviously meant to be, coke and whiskey, choc and choc? Plus some good ole THC to make this realization all the more mindblowing.

So we pull a little smokage and then go and eat some lunch at the caf. Damn, this is probably the most bomb reefer I'd ever had, but that could be because I hadn't smoked in a couple of weeks. However, at one point Stryder asked me "really dank right? Some of the best ganja I've ever had right here." For those interested, this was some outdoor grown Trainwreck Kush from Northern California. For those who don't know much about the pot culture, Northern Califronia is the fucking place to be (barring Hawaii) for bud. Also, Trainwreck and anything including the old "Kush" moniker (Master Kush, Orange Kush, etc.). Let me tell you, as an avid THC fan, this really put me in my place.

After some awful food that was damn delicious at the hands of my new idol Trainwreck Kush, me and Stryder head back to my dorm and do a little jamming. We threw down some seriously great recordings where I was on guitar, then drums and Stryder was on guitar, acoustic then electric. WISK fans can expect these recordings to show up on an album in the future (we've got a few other tracks on the album called "How Your Mother Cried Last Night" or "When Cold Stuff Feels Wet". Those are the albums we already have some primer tracks for, but we'ven't really discussed which we'll put it on, but expect it in the next couple of months. One track sounds like a lost track from a Han Bennink and Derek Bailey recording session.

So after the jam session and recording we head down to LA. Once we get to the line we have to wait for a half hour for the venue to open up, during which we met some pretty cool people. These guys came up to us saying "you look like you're having too much fun", which we were because we were quite blitzed at that point. Some people told me I have a familiar face also, but I didn't recognize them. Is WISK more famous than I thought? Do they recognize me from MB or something like that? I'm not sure. My social skills were kind of impaired by the party favours.

Finally we went into the venue after standing in line until 15 minutes after the opening time. We experience a short wait until the opening band Jeffertiti's Nile came on. They were decent; did mostly original tracks aside from a cover of Zig Zag Wanderer in favour of The Magic Band. I've listened to a few of their tracks and they did a spot on job, don't get me wrong. Unfortunately, their music has to much of a pseudo-punk edge for me. There were some rather psychedelic interludes where the guitarist made use of his damn sexy pedalboard and there was a multi-instrumentalist who joined in with some really good flute playing for those parts. It would have been more fitting for the show if they went on to the psychedelic direction more. But I wasn't here to see Jeffertiti's Nile, I came to see The Magic Band; so I breathed a sigh of excited relief when the opening act fled the stage.

Here they come. Rockette Morton picks up his five string bass, Feelers Rebo paces across the stage, Andrew Niven takes his place at the kit, Eric Klerks grabs his guitar nearby Rockette Morton, and last but most definitely not least (if anything the opposite!), John "Drumbo" French grabs the mic. The only people who haven't performed in the Magic Band with the big Beef are Andrew Niven and Erik Klerks. Rockette Morton played on TMR and several other albums, Feelers Rebo playe on Bat Chain Puller (also on the original release which is preceded by Shiny Beast, parenthetically. The original recordings were released by the Zappa Family Trust in 2012). The standard "how're you doing LA!?" is proffered before the band breaks into "My Human Gets Me Blues".

Good god, they're nailing it. I almost want to cry tears of joy as they nail bit after bit of one of my favourite Beefheart (and overall, those of you who know me know how special this music is to me) tracks. After the deliver the cacophony with astounding precision, John French asks the crowd if anybody had never heard the music of Captain Beefheart before, because it's rather an acquired taste (ahem, Trollheart). Nobody fessed up, so I assume that I was among a crowd of other die hard Beefheart fans, which my conversations with fellow attendees also suggested. The group starts playing "Lo Yo Stuff" off of Clear Spot. After all of this Rockette Morton breaks into a fantastic bass solo, and he really gets the crowd going there.

From there on, it gets a little bit fuzzy the exact order because you know, drugs, but after some deliberation after the show, me and my gig mate wrote up the songs that they did. From here on it'll be a track by track review.

Hair Pie: Bake One
Holy shit! They're really doing this one! French takes up the soprano sax and plays some rather precise noodliness while the group nails the original plan. Damn I still can't believe they did this one of all tracks. I figured they would have done the easier tracks off of Safe As Milk but hell no! These men are here to entertain, and they know anyone who'd pay to get into a show of theirs wants to hear some TMR material or else!

Golden Birdies
French joins in the group on the sax for a visitation to the theme from Golden Birdies as well as The Clouds Are Full of Wine (Not Whiskey Or Rye) theme. For those who don't know, The Clouds are Full of Wine starts off with a xylophone and guitar doing the theme. Man they did so well with it I can't even put it into words. After a couple minutes of playing on that theme they break into Golden Birdies, which (you can guess what I'm going to say now) they entirely nailed. At the end, French chanted "and the pantaloon duck, white goose neck, quacked" at which point he pointed the mic to the crowd. The ENTIRE crowd shouted back "webcore, webcore". I knew I was among friends at this point.

Hot Head
Really glad they did a track from Doc at the Radar Station. They threw this one on perfectly. I'm going to stop saying that because they did justice to every track that they played. At one point French joined in on the toms while Niven was playing.

Doctor Dark
And they even did a track from Lick My Decals, my favourite nonetheless. Frenchie was on vocals and did it quite well.

Circumstances
This performance made me revisit Clear Spot because it was quite a rocking track. Clear Spot is my favourite of Beefheart's "conventional" era, but since it's from that time period, I don't listen to it that much. Duly fixed.

Diddy Wah Diddy
A throw back to way back when to Beefheart's first EP. Did a fantastic job with it as usual. The crowd was not as enthusiastic about this one, but it was still a good one.

Click Clack
Now on this one, the group really brought the energy because they were clearly feeling it off of the audience. Fantastic rendition.

Floppy Boot Stomp
Probably my favourite song about a fight between a bum, a farmer, and his fiddle. The ****ing best right here. The group threw in some extra interludes not in the original track.

Moonlight On Vermont
Ah yes, good old Moonlight. How could they go wrong with this classic? An impossible task that they proved to be even more impractical. These are the original members and hardcore devotees, could you imagine them doing disgrace to this track?

Big Eyed Beans From Venus
A great track that the group did fantastically. French threw in some saxonizations on this one and it worked so well.

French Plays a Dank Solo
John French tells the crowd "well my original name in The Magic Band was 'Drumbo', and I'm going back to my roots." After which he hops on the drums and plays a mindblowing drum solo. Neil Peart, you can take a seat and learn from the master.

When It Blows It Stacks
A good track off of The Spotlight Kid that the band did well with. They brought the energy with this one. Since it had such good bass on it, someone in the crowd shouted out "What do you run on, Rockette Morton?". It was great.

On Tomorrow
John French went onto the intro to this after his great solo, and the band nailed it. This was something of an extended version of this track as the band went into more of a jammy mode. I came into this expecting some Safe As Milk tracks and though I was surprised by the ones I was given, I was not disappointed in the slightest by the performances.

Big Black Baby Shoes
You can probably guess what I'm going to say now. What a great performance, it was quite stunning.

Suction Prints
French ran off backstage while the rest of the band went on to play this track sans the reeds. These people clearly live and breathe this music like I do, as they did an incredible job with it (fuck, okay I'll stop saying that now.

She's Too Much for My Mirror
This one was the last track that they did, and damn it was great. Got the crowd pumped on this one, and they got the unsynchronized synchronizations down pat. Fucking impeccable.

B-Side Track? Medley?
They didn't end on this track, but I don't know which one it was! I didn't recognize it, even though traces of Beefheart can be found in my blood, hair, and urine. It was pretty good, I'm pretty sure it was a medley of sorts because there were parts where I felt like I knew what they were playing but then they'd jump onto the next part and I'd be lost again. It was a good track, but Erik Klerks played a long solo towards the end of the track that started off really good and beefy but sort of fell of into bland-land. Whatever, enough redeeming tracks to make up for that moment.

Encore:
Electricity
After the group exited the stage, the audience applauded with great enthusiasm for about five minutes until the band returned to their instruments. French told the crowd that they didn't usually do encores, but how could they say no to that? Whether he was full of shit I don't know, but it made this track all the better. Elec-fucking-tricity. They really nailed...I said I wasn't going to say that anymore, sorry, but it's so true. They went into a little improvisation in the middle that was really sick (plus their eyes were a little bit redder than before they left the stage, nomsayin). Fantastic track and performance.

Encore Two:
Orange Claw Fucking Hammer
Another couple of minutes of applause and shouts for more go by before John French comes back out alone. What's he going to do? Apes-Ma? Well? The Dust Blows Forward 'N' The Dust Blows Back? Oh shit, is he going to do Orange Claw Fucking Hammer!? Goddamn, he's doing Orange Claw Hammer. This is one of my favourite Beefheart tracks, and by now I hope you've picked up how big of a fan of his I am. I really didn't think they were going to do any of the a capella pieces, but damn, French really delivered on this one. No flubs here (not even a "lic-lic-licorice twisted around" like the Captain did) and it was a very emotionally powerful performance. This was the most perfect and poignant way they could have ended the show.

Whenever French brandished the sax, I was dying in anticipation that they would break into "When Big Joan Sets Up". I was also hoping for some Ice Cream For Crow Material, as well as the irreplaceable "Frownland". But it's no problem that they didn't do these tracks. This was hands down the best concert that I'd ever been to. After the show, me and my gig-mate just sort of looked at each other in understanding. Even though I just tried to do so, words cannot tell how incredible this show was.

Another art piece for you guys, this time by the Big Beef himself. It's called Making Love to a Vampire With a Monkey On My Knee, after (possibly) the track off of Doc at the Radar Station.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Frownland

Musicbanter regulars, you surely know all about my group Wolves In Sheepskin because I never shut up about us. Today I'll be reviewing our most well received (and best selling) album, Indecent Vibrations. This album is my second favourite of our output, with A Van Per Oven being my favourite. This music speaks to me because the group does what we love as opposed to what would sell or sound appealing, and I'm glad to say that I'm a member of one of my favourite bands.

Indecent Vibrations consists of four tracks ranging from 6 to 17 minutes in length. It is entirely improvised apart from basic song structures that I came up with ("when I start to do this, change to that"). Stryder Rymer plays guitar for tracks 1, 2, and 4 and mandolin on the 3rd, Christophe Bassett (myself) plays guitar on the first track, electronics on the second, and drums on the last two, and Zach plays drums on the first two tracks and guitar on the final two.

The opener, Robot Intestines has Zach on drums and Stryder and I on guitar. It starts off with a kickdrum assaulted with reverb before the guitars enter. The sound is noisy and industrial, which is why we named the track Robot Intestines. The first minute or so is slower and more droney until it breaks into a faster part where indigestion occurs in the robot's intestines.

The song carries on like this with the crazy and noisy soundscape offering a variety of electric guitar noises from myself and rumbling rif***e from Stryder. There are points where we slow back into the opening part before breaking into another chaotic passage. The track ends on a drone and closing drums. This one is my favourite track on the album, and one of my favourite WISK tracks overall. Everybody did a great job on this song, and I don't have a favourite player on it because the sounds meld together so well. We recorded this track in my garage and after we were done with this tune, my dad came out and said "why don't you play a SONG?" so we knew this was a really good track if he felt the need to say something about it.

The second track is Flashback, where Stryder is on prepared guitar, Zach plays a reverb box and drums, and I play effects-heavy theremin. This track clocks in at 17 minutes long and is the longest on the album. It starts off very ambient with the players trading echoey and strange sounds. Throughout the track the theremin abandons the ambient atmosphere that the other two instruments are creating and overlays them with other-wordly sounds. About 9 minutes into a theremin solo comes in that makes you regret taking the brown acid. The other instruments grow in intensity until the quasi-sudden end of the track.

Out of the four tracks on this album, this one is my least favourite, but it's still a great track nonetheless. We thought that Flashback would be an appropriate track name for obvious reasons.

Then we have the last two tracks which are rather similar but still very different animals. Anyeurysm, which is intentionally misspelled as a reference to our album Any of Many, is a noisy track where Stryder jumps on the mandolin, Zach plays the guitar, and I sit at the drums. It starts off with a tremolo guitar and mandolin trade-off combined with drums. There's one tom that really complements the track as it's very prominent and gives the track some semblance of order to the track. There are points where you can't even differentiate what's each instrument is doing as it's a great wall of noise. I'm rather proud of my drum work on this track, especially the from the point where I rapidly play the snare up until the end of the song. It carries on in the noise ridden industrial sounds until it ends abruptly (the reason for this being that my recorder ran out of battery, the actual performance ran at about 12 minutes).

The closing track, Echoes of a Distant Memory has the same line up as Anyeurysm but this time with Stryder on guitar. A strum of the electric guitar and the clunkety drums enter. This one has more standard drumming in the beginning that breaks into a fast paced, almost Han Bennink-esque style. The guitars on this track are anything but standard. They're very angry and inseparable, and that thing called melody that Trollheart is always going on about is gone from this track. Everything is lost in the wall of noise. The track continues on in the metal-influenced aggression that we hear in the beginning of the song until we get another abrupt end. Again, this is because of the recorder running out of battery.

This album was incredibly fun to make and I find it a lot of fun to listen to. The sound of this album is somewhat unparalleled in our other six albums, save for a vague similarity on some tracks from A Van Per Oven and the title track from Lizard of Ox, which sounds like Indecent Vibrations on heroin and bath salts. We found a unique kind of sound that's specific to us with this album, and that's something I'm glad that we've done.



For the art piece on this entry, I'm going to give you guys the album artwork to Indecent Vibrations. It's a photograph of the reflection of the inside of a drainage pipe. We got the lines to be really messed up by throwing rocks in the water and taking the photo right after.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Frownland

I’m just gonna shoot this list all over you guys, it’s not in any particular order except for the first one (gee I wonder what it’ll be) but they’re just a shitload of fantastic albums you might want to listen to. It’s not going to have every quintessential album but this list is a good starting place. I’ll likely be reviewing some of these at one point so I’ll update this list with links to those reviews. You ready? I am.

Captain Beefheart & His Magic Band - Trout Mask Replica
Peter Brötzmann Octet - Machine Gun
The Beatles - Magical Mystery Tour
King Crimson - In the Court of the Crimson King
John Zorn - Madness, Love and Mysticism
Zu - Carboniferous
The Thing - Bag It!
Evan Parker, Derek Bailey, and Han Bennink - The Topography of the Lungs
Billy Woods - History Will Absolve Me
John Coltrane - Ascension
Armand Hammer - Race Music
Madvillain - Madvillainy
Jim Black - Endangered Blood
Silver Apples - Contact
Fifty Foot Hose - Cauldron
United States of America - United States of America
This Heat - This Heat
Tom Waits - Real Gone
Taku Sugimoto - Opposite
Lou Reed - Metal Machine Music (fuck the haters)
Wolves in Sheepskin - Indecent Vibrations
Pink Floyd - Meddle
Anthony Braxton - For Alto
Ornette Coleman - Free Jazz: A Collective Improvisation
Jandek - Threw You Away
Colin Stetson - Those Who Didn’t Run
Peter Brötzmann, Mats Gustafsson, Paal Nilssen-Love - The Fat Is Gone
The Jimi Hendrix Experience - Axis: Bold As Love
Derek Bailey - Ballads
Boom Bip & Doseone - Circle
miRthkon - Vehicle
Mr. Bungle - Disco Volante
Fantômas - Fantômas
Primus - Pork Soda
Eric Dolphy - Out to Lunch!
Gorguts - Obscura
Naked City - Torture Garden
DNA - DNA on DNA
The Fall - Hex Enduction Hour
The Caretaker - An Empty Bliss Beyond This World
Kreng - Grimoire
John Coltrane - Meditations
Can - Tago Mago
Faust - Rien
Frank Zappa - Hot Rats
Huun-Huur-Tu - Fly, Fly My Sadness
John Fahey - Womblife
The Red Krayola - Parable of Arable Land
The Pop Group - Y
This Heat - Deceit
Captain Beefheart & His Magic Band - Ice Cream for Crow
Captain Beefheart & His Magic Band - Doc at the Radar Station
Swans - To Be Kind
Sunn O))) - Black One
Marc Ribot - Asmodeus: Book of Angels, Vol. 7
Sun Ra - Space is the Place
Throbbing Gristle - The Second Annual Report
The Velvet Underground - The Velvet Underground & Nico
John Cale - Stainless Steel Gamelan
Ween - GodWeenSatan: The Oneness
Zs - Arms
Fushitsusha - Withdraw, This Sable Disclosure Ere Devot’d
El-P - Cancer 4 Cure
Keiji Haino - Koko
Keiji Haino - I Said, This Is the Son of Nihilism
Ornette Coleman - The Shape of Jazz to Come
Praxis - Sacrifist
Matana Roberts - Coin Coin Chapter One: Gens de colour libres
Thrangh - Erzefilisch
Art Ensemble of Chicago - Les Stances a Sophie
Charles Mingus - The Clown
Dälek - Absence
The Residents - Meet the Residents
Aesop Rock - Float
Pere Ubu - Dub Housing
Sonny Sharrock - Ask the Ages
Masada - Alef
The Residents - Eskimo
Charles Gayle - Repent
Albert Ayler - Love Cry
Wild Man Fischer - An Evening With Wild Man Fischer
Brian Eno - Ambient One: Music for Airports
Oneohtrix Point Never - Replica
Ghostpoet - Peanut Butter Blues & Melancholy Jam
Gil Scott-Heron - Small Talk at 125th and Lenox
Masayuki Takayanaki & Kaoru Abe - Gradually Projection
Wolves In Sheepskin - Lizard of Ox (ja it’s self promotion but I really do love this album)
Ken Vandermark - Mark in the Water
Mastodon - Blood Mountain
John Cage - Imaginary Landscapes
Ornette Coleman - This Is Our Music
Moondog - Moondog
Arnold Schoenberg - any album with a performance of Verklarte Nacht Op. 4. I like Schoenberg: Orchestral Works
Cromagnon - Orgasm (aka by the reissue name, Cave Rock)
Pink Floyd - Piper at the Gates of Dawn
Morton Feldman - Three Voices for Joan La Barbara
Mr. Bungle - Mr. Bungle
Oidupaa Vladimir Ouin - Divine Music from a Jail

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Ninetales

Perhaps I should make it my goal to listen to all of these albums.. still quite a few there I haven't heard. I will definitely be coming back here for recs at least