Katyusha, by Martín Escalante / Teté Leguía / Weasel Walter

Katyusha

by Martín Escalante / Teté Leguía / Weasel Walter

supported by

Blastbeat Junkie "Totalitarian, maximalist torrent of free improvisation, an explosively intense expression of Free Jazz, a wordless primal scream dialed to 11 and vibrating with humming radioactive power. Delicacy and intonation wither like prone digits in a subzero torrent."

gonzokaraoke.wordpress.com/2024/02/04/martin-escalante-tete-leguia-weasel-walter-katyusha/

Brenna Some of the best out there

dyingstarsinmyeyes Brutal free noise jazz straight out of our crumbling hell-society. Get fucking wrecked my dudes.

Santiago It's been a while since music puts me in fight-or-flight mode. Genuinely blood-boiling, visceral shit. Favorite track: castles of helical hands..

broadcast - energy - transmitter thumbnail

Can This Even Be Called Music? thumbnail

more...

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the replicated digipak CD version of "Katyusha"
Compact Disc (CD) + Digital Album
This is the replicated digipak CD version of "Katyusha"

Includes unlimited streaming of Katyusha via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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	1.	on pale and drunken asses (they all go to the hospital) 14:42
	2.	denuding chained wounds 10:55
	3.	castles of helical hands. 23:11

about

This isn’t your grandfather’s free jazz. Hell, it probably isn’t free jazz at all, but you have to call it something. “Katyusha” is ballistic fire music that starts where the most berserk, intense free music begins and then sustains that, then pushes it further. Blood vessel bursting intensity, stamina, speed, and momentum is here in blinding quantities, all the while retaining lightning fast interaction. No dull roar, the densities and dynamics do vary, but there is never a dull moment or coasting. No melodies, no beats, no ballads, no mid tempos, no diffuse gestures, this release by an international crew of warlocks pushes instrumental technique to new extremes. Saxophonist Martín Escalante is a singular stylist, wrenching scathing fusillades of sound from his instrument in a one-man orchestra of multiphonics, altissimo shrieks, subtones, and screaming. His tone here is unamplified and unfiltered – he conjures these hellish sounds acoustically through sheer force and determination. Bassist Teté Leguía wantonly deconstructs bass playing in a low-tech manner utilizing feedback, magnetic field disruption, found objects, and distortion. He lays down a thick excoriating, wooly canvas for the other two to puncture and rend, goading them to higher peaks. Drummer Weasel Walter is known for his unrelenting momentum, and this performance finds him in peak form. Where legendary musicians like Rashied Ali and Tony Oxley pushed free drumming to new vistas of articulation and activity, WW cranks that intrepid mania up another bunch of notches, whipping up an absolutely merciless tornado of tightly coiled percussive activity (or well chosen silence, in some cases). This shit sounds like a “Machine Gun” era Brotzmann or Milford Graves’ “Babi” played on 78 instead of 33. Admit it. Masayuki Takayangi might have been proud. This is true energy music for the 21st Century, not looking backwards for a single second. The trio of Escalante, Leguía, and Walter throw down a goddamn hair-raising gauntlet for extreme free music. Love it or hate it, but admit there’s nothing quite like it.

credits

released April 8, 2022

Martín Escalante: saxophone
Teté Leguía: bass guitar
Weasel Walter: drums

recorded at Seizures Palace, Brooklyn, NY on September 27, 2021 by Jason LaFarge, mixed by Weasel Walter
paintings and titles by AG Davis
front: “Halifax Hospital”
inside: untitled
published by Sedition Dog Music (BMI)

©+ ℗ ugEXPLODE/Sploosh Records/Minutos para el fin 2022

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about

Weasel Walter Chicago, Illinois

ugEXPLODE Records was founded in 1991 and dissolved in 2013, and revived in 2018 building on a raw aesthetic springing from extreme rock forms and free jazz.

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