See The Looks On The Faces: Live Recordings (Tombed Visions)
by Sloth Racket
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Full Digital Discography
Get all 9 Sloth Racket releases available on Bandcamp and save 15%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Organising Space, Exabout: Live In Ramsgate, Dismantle Yourself, A Glorious Monster, Wasps/Wolves Trios EP, Favourite Animals, See The Looks On The Faces: Live Recordings (Tombed Visions), Shapeshifters, and 1 more.
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See The Looks On The Faces/A Glorious Monster: Cassette & CD Bundle!
Cassette + Digital AlbumGet the 'See The Looks On The Faces' live tape plus our 2018 studio album 'A Glorious Monster' for a bit less money in this tasty bundle! Includes CD (with DL card) of 'A Glorious Monster' along with your cassette and DL of the live album.
Includes unlimited streaming of See The Looks On The Faces: Live Recordings (Tombed Visions) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Sold Out
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Limited Edition Cassette
Cassette + Digital AlbumSmall batch of cassettes from the Tombed Visions label!
The cassette comes housed in a double sized case. All tapes are pro dubbed on Metallic Blue Band shells, with the 2 panel inlay printed on 300gsm recycled card.
Includes unlimited streaming of See The Looks On The Faces: Live Recordings (Tombed Visions) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Sold Out
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Edges (Norwich)
19:21
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2. |
Crossed Swords (Norwich)
10:25
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3. |
Edges (Cambridge)
13:52
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4. |
Endgame (Cambridge)
18:58
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about
David McLean of the Tombed Visions label, who released this tape in November 2017, writes:
'The concept behind Sloth Racket's first live album, 'See The Looks On The Faces' was a simple but extraordinarily effective one. Perhaps the most exciting and refreshing new British band operating in the Avant-Garde Jazz tradition, bandleader Cath Robert's compositions for the group have always remained open-ended with ample room for improvisation. Throughout the four long-form live recordings, the listener can audibly witness the gradual morphing and development of material from concert to concert. This is particularly true in the case of 'Edges', which appears twice on the album. The opening version recorded in Norwich bristles into life all stuttering baritone sax and clawed double bass. The extended duo between Seth Bennett and Robert's does at times coalesce into some earthy, bluesy chordal exchanges but for the most part the musical streams coming out of each instrument jar against each other fitfully. In comparison, this same duet on the Cambridge version sounds vastly more intertwined, far more in-sync with their melodic investigations. When the piece ramps up into more raucous territory, on this versionSam Andreae's Alto sax enters, sounding uncannily like an entire pizzicato string section. It's only in the closing minutes of each version that the main riff reveals itself, but the consecutive Cambridgeshire melody feels more tightly locked in. The percussion on both is minimal until the closing minutes, although Johnny Hunter does more in the few minutes he plays on each track than most drummers get to exhibit on an entire record. 'Crossed Swords' is the most unified cut on the album, erupting out the gate with a funk groove that would fit in Julius Hemphill's oeuvre. It's screamingly energetic and righteously infectious. On 'Endgame', guitarist Anton Hunter shines, filling out the consistent middle-eastern mode with a spacious, elegiac guitar sound that shimmers around mournful double bass. 'See the Look On The Faces' brilliance lies in its ability to show that Robert's compositions are living, breathing creations, changing according to the temperament of the band. These recordings are a window into the workings of a group of musicians so well recruited and so effective in their interplay that one can only imagine how astonishing the material they've generated that has never been recorded must be.....and what a loss that is.'
'The concept behind Sloth Racket's first live album, 'See The Looks On The Faces' was a simple but extraordinarily effective one. Perhaps the most exciting and refreshing new British band operating in the Avant-Garde Jazz tradition, bandleader Cath Robert's compositions for the group have always remained open-ended with ample room for improvisation. Throughout the four long-form live recordings, the listener can audibly witness the gradual morphing and development of material from concert to concert. This is particularly true in the case of 'Edges', which appears twice on the album. The opening version recorded in Norwich bristles into life all stuttering baritone sax and clawed double bass. The extended duo between Seth Bennett and Robert's does at times coalesce into some earthy, bluesy chordal exchanges but for the most part the musical streams coming out of each instrument jar against each other fitfully. In comparison, this same duet on the Cambridge version sounds vastly more intertwined, far more in-sync with their melodic investigations. When the piece ramps up into more raucous territory, on this versionSam Andreae's Alto sax enters, sounding uncannily like an entire pizzicato string section. It's only in the closing minutes of each version that the main riff reveals itself, but the consecutive Cambridgeshire melody feels more tightly locked in. The percussion on both is minimal until the closing minutes, although Johnny Hunter does more in the few minutes he plays on each track than most drummers get to exhibit on an entire record. 'Crossed Swords' is the most unified cut on the album, erupting out the gate with a funk groove that would fit in Julius Hemphill's oeuvre. It's screamingly energetic and righteously infectious. On 'Endgame', guitarist Anton Hunter shines, filling out the consistent middle-eastern mode with a spacious, elegiac guitar sound that shimmers around mournful double bass. 'See the Look On The Faces' brilliance lies in its ability to show that Robert's compositions are living, breathing creations, changing according to the temperament of the band. These recordings are a window into the workings of a group of musicians so well recruited and so effective in their interplay that one can only imagine how astonishing the material they've generated that has never been recorded must be.....and what a loss that is.'
credits
released November 27, 2017
Album credits:
Cath Roberts - baritone saxophone, compositions
Sam Andreae - alto saxophone
Anton Hunter - guitar
Seth Bennett - bass
Johnny Hunter - drums
Tracks 1 and 2 recorded live at The York Tavern, Norwich on 29th June 2017 (presented by Plink Plonk).
Tracks 3 and 4 recorded live at Unitarian Church, Cambridge on 30th June 2017 (presented by Listen!).
All tracks recorded by Anton Hunter.
Artwork by Lewis McLean.
Thanks to David at Tombed Visions for putting this out, to the promoters Listen! (Cambridge) and Plink Plonk (Norwich) for hosting the gigs.
Album credits:
Cath Roberts - baritone saxophone, compositions
Sam Andreae - alto saxophone
Anton Hunter - guitar
Seth Bennett - bass
Johnny Hunter - drums
Tracks 1 and 2 recorded live at The York Tavern, Norwich on 29th June 2017 (presented by Plink Plonk).
Tracks 3 and 4 recorded live at Unitarian Church, Cambridge on 30th June 2017 (presented by Listen!).
All tracks recorded by Anton Hunter.
Artwork by Lewis McLean.
Thanks to David at Tombed Visions for putting this out, to the promoters Listen! (Cambridge) and Plink Plonk (Norwich) for hosting the gigs.
license
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tags
about
Sloth Racket London, UK
Sloth Racket is a band of improvisers from the UK.
discography
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Oct 2022 -
Nov 2020 -
Sep 2019 -
Jun 2018 -
Mar 2018 -
Dec 2017 -
Nov 2017 -
Jun 2017 -
May 2016
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Sloth Racket recommends:
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Dee Byrne's excellent saxophone and electronics solo album on our label Luminous!
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Some incredibly delicate and lovely nylon string guitar music from David Birchall here.
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Cath and Anton from Sloth Racket in their duo form Ripsaw Catfish. This is their third offering on Raw Tonk and things have gone into a heavier and noisier place thanks partly to adding electronics...
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supported by 8 fans who also own “See The Looks On The Faces: Live Recordings (Tombed Visions)”
everybody's favorite anteloper doing the damn thing. im not biased at all!
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supported by 7 fans who also own “See The Looks On The Faces: Live Recordings (Tombed Visions)”
I remember seeing Bloodcount play at Leeds Irish Centre about this time…the band very nearly outnumbered the audience… but it was one of the best gigs (out of very many) I ever saw and the band were terrific…on fire…25 years ago!! Who says you can’t time travel? This rediscovered recording took me right back…what a find! Thanks Tim…Love & Respect.
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