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ANTELOPER [jaimie branch + Jason Nazary] plus openers T.B.A.
Collision
Pittsburgh, PA
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ANTELOPER [jaimie branch + Jason Nazary] plus openers T.B.A.
Friday July 15th 2022

tcrps prsnts

ANTELOPER
featuring jaimie branch on trumpet/electronics & Jason Nazary on drums/electronics

plus special guest
UNGUENT [Refulgent Sepulchre: Philadelphia]

with local support from
BEN OPIE & PATRICK BREINER duo
DATAMASTER

and in the chamber of ambient horrors
ELI NAMAY'S SOUND MASS featuring CALEB GAMBLE & ASSOCIATES
LEMONGRASS BOYLE III

this concert is all-ages
$12 advance tickets are ON SALE NOW: https://www.brownpapertickets.com/event/5436718
$15 admission at the door
doors open at 8:30pm

Collision Weird Jazz Workshop
Pittsburgh, Pennsylvania
Non-United States of America

for venue address email collisionpgh@gmail.com


ANTELOPER

Were improvisers first and were bringing moment music into these other zones of hip hop and electronic music, drum-machine music, sound-system culture Acoustic musicians sun-kissed by electro-magnetism, flowing out into everything. This is the shit that we want to be playing on big ass systems. Omnivorous, energy space time, mosh pit dance-music. Get it in the subwoofers so you can feel it hit, cuz the music has to begin in the body!  jaimie branch
jaimie branch and Jason Nazary are Anteloper. When prompted about their name, branch comes back rhyming: An Anteloper, is an antelope, interloper, adding in a jovial manner, an antelope walks up to a party, but you know, people dont want him around. Turns out, she had the name before the band was formed, and once the duo started rehearsing, it was apparent that THIS was what an Anteloper sounds like.

Another creature pops up in the title of the duos new album: Pink Dolphins. branch explains that the name is in part a nod to her Colombian heritage (from her Mother). Theres these amazing pink river dolphins that live in the Amazon - they can swim in salt water, they can chill in fresh water, or they can rock in mixed up brackish waters. They are uniquely aquadelic in that way. Aquadelic and super endangered. In many ways branch and Nazary are like those dolphins  adaptable to varied terrain and moving in many directions through sound.

The Pink Dolphins album artwork is by branch too, a primarily ink-and-gouache based artist who notes that this was the first time she treated her paintings with hefty digital processing. Shes collaborated, again, with John Herndon (of Tortoise fame), who she worked with on album covers for her first two FLY or DIE releases, and who has also done several tattoos for her. This isnt the only Tortoise connection, though. Pink Dolphins is a new benchmark for the duo, not least because of the involvement of Jeff Parker whom they recruited to be producer for the record in 2019. Parker notes: I was immediately excited... Anteloper has a very unique sound and chemistry, and I love the spirit behind everything that theyre doing.

But before we get into the new album in full, a quick recap: Nazary and branch first met musically in Boston in their late teens. Their previous two albums  2018s Kudu (reissued on vinyl for the first time in January 2022) and 2020s in-progress report Tour Beats Vol. 1  both acted as proof-of-concept experiments, merging synths, raw experimental desktop electronics, gadgets, and efx with the energy and attitude of punk and an insatiable thirst for extended outer space jams. branch works with her band Fly or Die and has also appeared with Exploding Star Orchestra, TV On The Radio, Matana Roberts, William Parker, and many others. Nazary released a solo album, Spring Collection, on Helsinkis We Jazz Records last year, and has appeared with Helado Negro, Bear In Heaven, Little Women, Desertion Trio, and many others.

Theres something undeniably now and new about Antelopers current work. It channels a wide array of expressions from the kosmische musik / post punk sounding opener Inia through the seismic, spectrum-saturating album closer One Living Genus. Anteloper blazes rarely-trodden trails through a cross-pollinated wilderness of electronics and jazz. And though one might assume that jazz and electronics are common genre interactions these days, Antelopers experiments mine deep into underexplored spaces between lexicons.

Theres also a punk aspect to Anteloper  branch makes this clear when she says Im coming from punk. Were both coming from punk!  and you can really feel that energy in their DIY, do or die approach. Additionally, they embrace a bit of pre-punk, contrarian innovation energy like Miles Davis on Live Evil  a benchmark album for both musicians. Speaking of Miles  his trumpet solo on Green Dolphin Street (dolphins again!) was the first solo that branch ever transcribed, and Nazary says that when they first started playing together, he wanted to cover Little Church from Live Evil (at least in part because of Airtos playing). branch also notes that Parker cites Live Evil as one of his favorites. In fact, Parker played a sort of Teo Macero role for Anteloper on Pink Dolphins. Parker explains: The source material that was initially sent to me was many, many hours of improvised sessions that needed to be sifted through. It was overwhelming! So eventually Anteloper went back in the lab and edited the source material down into smaller chunks, and we went from there. It took me a long time to find a groove with it I spent many months experimenting with different techniques and ideas. I would send them tracks, they would add to it and send it back. It was definitely a challenging way to make a record. I learned a lot. It was worth it!

Nazary notes that their growth as a duo has really come about as they have refined their relationship with electronics: The other step for us is how we are interfacing  how I am using the drums to control electronics. Im always looking for a different way. branch references early influences Sun Ra, Mouse on Mars, and J Dilla, and later influences from Moor Mother, Harriet Tubman, and Sam Newsome. She cites the importance of electronics to her as exploratory instruments, both in sound and technique. Nazary notes that his drums/electronics rig is really a cyborg setup, the machines influence me as much as I do them. Then he surprisingly picks one big electronic band as his key inspiration I love Autechre! That record Confield and Draft 7.30 - thats it - thats how I want to sound on the drums!

Speaking of a different way, right in the middle of the album is Earthlings, a heady banger of sci-fi slow blues featuring branch on vocals (a first for her, in the context of Anteloper). As for how it came together, Parker and branch tell different sides of the same story. Parker starts: I made a 4-bar loop from one of their improvisations, and it was banging. He sent it to branch, who recalls: I was lightly tripping on LSD and checking out Jeffs loop when the melody came to me. The lyrics came partly as a reaction to a fallout (Make you/Make sense/It Makes Sense), as branch explored knowing what time it is with somebody and trying to force it to make sense, but you know its not going to necessarily make sense. Parker says when she sent the lyrics back, he had already extracted a loop from one of their improvisations and played a little Kenny Burrell-esgue guitar on it. I smashed the two things together, and away we went. It was done right after George Floyd and everyone was in the streets, right at the height of covid, etc. I think theres a subtle message in jaimies lyrics. Earthlings also carries some of the raw post-Tropicalian heft of the late Brazilian samba queen Elza Soaress later work  namely from the final album she created while of this earth, A Muher do Fim do Mundo (The Woman At The End of The World). Though branch notes it wasnt directly an inspiration for Earthlings, the sonic and spiritual connections are no surprise, considering branch collaborated with Soares in a wild and illuminating experimental meeting for Rewire Festival in 2021.
Intentional or not, the ghosts of Tropicalia are also conjured on Pink Dolphins album closer One Living Genus. Its an expansive (nearly 15 minutes!) movement of futurist psychedelia  loud, direct, impatient, impolite, pushing for progress  that recalls the colorful, uncompromisingly creative and revolutionary spirit emanating from Brazil in the late 1960s, but vibrates more like the modern cultural diffusion of the New York city that the band calls home. Nazary feels the track sees them fully exploring those underwater cavernous sounds, the drums dropping deep bass pillars, while jaimie's synths swim circles in and around. Jeff's production brilliantly captures both the stillness and constant motion in our sound, ever evolving but always rooted in the genus.
What makes this album special is the way that this duo bravely abandons the known as they leap forward into a path less-travelled. Theres no pre-made template here, only sound. Only a starting point, the destruction of that point, and the telepathic creation of a new way out. The electronics incorporated by both players are navigational devices, transportation sound-crafts. The resulting output is freewheeling, other-worldly, improvisational music, inspired by the unknown and at home in the astro-world. But the driving force behind Antelopers psychedelic space music is not escapism, rather a complete immersion in the hyperreality of the present. Their music is made for destroying concepts of past and future, for confronting and embracing the moment, for the betterment of the here and now. It's music that is as rare and bewilderingly beautiful as the aquadelic pink dolphins surfing through the Amazon River.

Anteloper's new album, Pink Dolphins, is out now on International Anthem: https://intlanthem.bandcamp.com/album/pink-dolphins

UNGUENT

https://refulgentsepulchre.bandcamp.com/album/simulation-of-a-bat-engulfed-in-acid

Location

Collision (View)
email collisionpgh at gmail
Pittsburgh, PA 15208
United States

Categories

Arts > Performance
Music > Experimental
Music > Indie
Music > Jazz

Minimum Age: 16
Kid Friendly: Yes!
Dog Friendly: No
Non-Smoking: Yes!
Wheelchair Accessible: Yes!

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