#sextet — Public Fediverse posts

If there’s one thing we can all agree on, it’s that Supraliminal, the 2023 album from death metal act Nothingness, is worthy of a 2.5 and no other rating. I know of no faction that holds it in higher esteem, am aware of no lack of consensus surrounding Felagund’s review–Oh wait just a second. I reviewed the tomes and scrolls, and it seems there was a shitstorm surrounding these guys. The comment section went to war on behalf of this Minnesota sextet’s brand of A24 OSDM.1 Steel Druhm juuuuust managed to put down a revolution, but the bonfire roared anew when Kenstrosity named Supraliminal his Record o’the Year. In the years since, a fragile peace has held… until now. Nothingness is back with their hard-charging third album Godslaughter, threatening the status quo and giving us the chance to pick old scabs and answer lingering questions. The most urgent of these: who was right?

Godslaughter is a vile piece of work, even meaner and more antisocial than its predecessor. Nothingness hasn’t abandoned the ambition that led Kenstrosity to describe their style as “caveman death with a university degree.” The band still brings some of the inventive brio of Gorguts or Nightmarer to a ferocious overall vibe that recalls a less theatrical Autopsy. This latest offering manages to double down on aggression while expanding Nothingness’s sonic palette and the range of their songwriting. If you can survive the onslaught of an opening run that includes the platter’s first two singles (“Skull Evulsion,” “Trenchant Glunch”), these grander designs reveal themselves. The album as a whole is an exhilarating run through nine well-sequenced tracks, seasoned with a flair for composition that makes the verdict clear: Godslaughter is a roaring return and a death metal ripper.

Godslaughter unfolds in three acts. The first commences with the sucker punch that is “Incinerated Immediately,” then proceeds through three additional tracks that lay you flat and kick you around for a while. “Vanquishing Providence” slows things to a crawl to “welcome” you to a middle section that’s built around longer and more varied songs. It’s here that you’ll find the slab’s most ambitious compositions, a pair of seven minute epics that go from first to fifth gear with no thought spared for the health of your spine. Nothingness throws in everything they’ve got and a few new tricks to boot, up to and including the bonging Black Sabbath bell that punctuates “Divine Irresponsibility.” A spoken word sample kicks off “Incredible Violence” and ushers you into the third act of the album. Sonic experimentation worms its way into these three selections, which essentially split the difference between parts one and two of the slab.

The album organizes itself into distinct segments, but Godslaughter’s forty-minute entirety remains a cohesive listen. The songs are united by a harsh but thoughtful production. Alex Walstad’s guitars flirt with peaking on tracks like “Incinerated Immediately” and “Umbral Spear,” but it all feels intentional. While there’s no credited producer, returning engineer Adam Tucker knows when to give space and clarity to a riff and when to noisemaxx. Barclay Olson, who is the vocalist for a death metal outfit and not the CFO of a private equity fund, lacks some variety in his attack. His roars do threaten to get repetitive, but the intensity of the music and the concise run time keep things at a rolling boil.

It’s a delicate alchemy, trying to combine familiar influences and elements into something that feels novel. Nothingness has pulled it off for two albums running. With Supraliminal and now Godslaughter, these merchants of digressive death submit a pair of long players to get your neurons firing even as they power wash your central nervous system. Like its predecessor, Godslaughter leaves a rancid mouthfeel behind as it rants its way toward Listurnalia. I’ll probably return to Supraliminal more than I do Godslaughter, so I won’t quibble if you want to ding the new slab by half a point. But all in all, Godslaughter is about as good as their last one.2

Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Websites: nothingness.bandcamp.com|nothingnessisdeath.com
Releases Worldwide: July 31, 2026

/// heute wird der "jazzklub" phat ~ es spielt tatsächlich ein Sextett ~ "jazzklub #28" ~ featuring Alma Trunk (trb), Bastian Duncker (as), Christoph Michl (ts) & Joel Podolski (git) ///

~~> los geht's wie immer 20.00 Uhr im "Pierre Grasse" oder:

~~> 19.45 Uhr im "radiyo"-live-stream @radiyan

>>> https://radiyan.uber.space/live

featured musicians:

* Alma Trunk - Trombone
* Bastian Duncker - Alto Saxophone
* Christoph Michl - Tenor Saxophone
* Joel Podolski - Guitar
* Albrecht Brandt - Double Bass
* Hannes Lingens - Drums

Vielen Dank für's Zuhören und Weitersagen und
Auf Wiederhören!

#jazz #live #concert #music #musik #radio #livestream #sextet #sextett #saxophone #saxophon #trombone #guitar #gitarre #doublebass #kontrabass #drums #hallesaale #jazzklub

Kenny Wheeler Sextet – What Was https://freq.org.uk/reviews/kenny-wheeler-sextet-what-was/ ...an album that sees the light after thirty years and not before time, Kenny perhaps at the peak of his later and smoother era, playing with friends and concocting a session that is well remembered by all those involved.
#jazz #sextet #musicreview

This morning's #workout #music is from LOX, a #drummer leading a tight #sextet through some fusion pieces that are a real throw-back to early 80's work I was listening to in high school. Nice touch having the #SteelPan as the lead instrument.

https://youtu.be/tSJz9FbL_2w
#JazzFusion #KettleBells #RotationalTraining

'Sport ohne Ball' #FotoVorschlag

Eine Kugel ist kein Ball - Hier beim legendären Kölner Sextet im Friedenspark.

#Boules #Petanque #Köln #Sextet #6tetes

welkom @Divorytaur op mijn #TL - deze heb je nog tegoed

It’s Going To Take A Long Time een #variatie die een voorganger kent voor 1 instrument (die komt later) – een #compositie van ferrie=differentieel voor een #Jazz #Sextet

It’s Going To Take A Long Time uit 2018

een variant waarin de #Canterbury #Suitcase (ePiano) de hoofdrol speelt in een tamelijk complex stuk in zes delen voor 6 muzikanten

te beluisteren op https://ferrie.audio/b/36A

Hi folks - I'm opening commissions via my Ko-Fi for a variety of musical and video services. Whether you're involved in an orchestra/band or a film/tv/video game production project, please feel free to check these out. https://ko-fi.com/storygirl/commissions

For the record, I'm doing this in the service of ending my poverty. I have a 9 month window of opportunity where I can earn some money before diving back into university and I'd love to earn that money doing fun things for the fun projects that fun people bring to the world. If you're doing something good and fun, I'm willing to put in some time without pay if it's something I can also reference for portfolio/credit purposes. I'm also happy to take on internship/assisting roles if there's a chance it will lead to paid work.

Where's my people in these spaces? #Creative #Filmmaker #ScreenWriter #CommunityTV #Band #Orchestra #CommunityMusic #WindBand #Quartet #Quintet #Sextet #ChamberMusic #AvantGarde #GameAudio #VideoGameDev #TrailerEditor #FilmDirector #MusicSupervisor

If you can't offer opportunities, it costs you 2 seconds to hit like and repost.

Our #Friday #music is “Prints” #recording by Alex Sipiagin #jazz #sextet playing #PostBop and #HardBop. Very melody and harmony oriented tunes.

We found Alex when #Roon #Radio trawled up some of his music. Since, we have been exploring his leader recording and guest artist appearances.

“A stellar showcase of forward-thinking” - Brian Kiwanuka’s #review of #maryhalvorson ’s new #sextet recording, ‘#Cloudward.’ #Album out now on #NonesuchRecords

#music #art #postgenre #postgenremedia #postgenremusic #nonesuch #adamofarrill #tomasfujiwara #patriciabrennan #nickdunston #jacobgarchik #albumreview #laurieanderson #improvisedmusic #jazz #newmusic

https://postgenre.org/review-mary-halvorson-cloudward/

“I very much like to try to keep elements of surprise in the music so you’re not following a script all the time.” - Mary Halvorson

Check out our interview with Mary Halvorson on her forthcoming sextet album, ‘Cloudward.’
Album out 1/19 on Nonesuch Records.

#maryhalvorson #cloudward #sextet #nonesuch #guitar #adamofarrill #JacobGarchik, #patriciabrennan #nickdunston #tomasfujiwara #LaurieAnderson #music #art #interview #postgenre

https://postgenre.org/cloudward-mary-halvorson/

Paul Wranitzky – Sextet No.3, in E flat major
https://youtube.com/watch?v=_3nV4O0-0zU&feature=share
@classicalmusic
#Sextet
#PaulWranitzky

While I'm getting the next video put through the various processes, here's something I did years and years back when I first came out of my 5-year hiatus :shiba_excited:​

https://www.youtube.com/watch?v=eUqvg7Anhn4

(Boosts, likes, and subscribes help, and if you want to donate, that helps a ton, too~ :zerotwo_hearts:​ )

I'm kind of wondering how many people have actually seen the anime. It's surprisingly old, though it's not quite 90s old :leafeon_giggle:​ Considering the demographic of the Fedi, more people here might know of it than elsewhere :bugcat_dance:​

It's one of, if not the only, Kajiura Yuki piece that I've recorded, but it's one of my old favourites. Aside from BT being a character I like, something about this track spoke to me and I ended up writing 3 parts for the violin to go on top of the piano part in the original :zerotwo_learn:​

Unlike most of my other recordings, I had the time to go through and put 2 violins on each of the 3 parts, giving a bit more of the silkiness of orchestras compared to the more distinct sound of 1 violin per part in a small ensemble :cat_ooh:​

#Music #Musician #Violinist #Violin #Cover #ViolinCover #Soundtrack #Anime #DotHack #Sextet (yup, it's a sextet :jolteon_giggle:​ ) #JapaneseMusic #YukiKajiura #PDX #Portland

This was just over a year ago. Music is all done now, editing and prepping the soundtrack release after Christmas... #PeakyBlinders #VGM #Sextet

https://twitter.com/rjwilx/status/1467949228706177029?t=dKhVDauUed-QPIdYtkxKQw&s=09

On this day in 1973: “The First DEVO Concert”

by Gerald V. Casale

At #KentStateUniversity’s 1973 Creative Arts Festival, we were the “ #Sextet Devo ” Why was it a sextet? Because my college student best friend and early #Devo collaborator, Bob Lewis, was insistent that I couldn’t sing. He convinced us that having a crooning signer — who had sung with the James Gang ( #JoeWalsh) and with The Measles, a locally popular cover band — was the way to go. I didn’t buy it, and I was personally offended that he said I “couldn’t sing.”

But there was a more important and subversive reason for going along with the ploy. It allowed us the “Sextet” billing to qualify for a pretentiously curated arts #festival, sponsored yearly by the university gatekeepers. Clearly “Sextet #Devo” was “art,” and not Rock N Roll. So we slipped in with a vote from Dr. Robert Bertholf, a tenured English Literature professor (and all around cool, brainiac guy), who was sympathetic to our cause. And that cause — starting then — was spreading The Gospel Of #Devolution.

Our setlist was eclectic, to say the least, and ample evidence that Lewis and I had spent way too much time philosophizing — and convincing Mark #Mothersbaugh of the merits of the #De-evolution trope — and way too little time with songwriting.

On April 18th, #1973, our line-up was my brother #BobCasale and #BobLewis on guitars, myself on bass guitar and vocals (I prevailed and sang “Sun Come Up, Moon Go Down”), #FredWeber on lead vocals/tambourine, drummer #RodReisman, and #MarkMothersbaugh as #keyboardist.

The video that my good friend and colleague, #ChuckStatler, shot that night to document our nascent performance is interesting in the same way that the recently surfaced news footage of 11-year-old Prince supporting the teacher’s strike in Minneapolis is interesting. Looking back, it is important historical evidence of… something.

In front of an audience of 20 or so students, seated in a small auditorium and curious enough to check us out, we slugged through mid-tempo experimentation on songs like “Wiggle Worm,” “What Goes Up Must Come Down” (a relatively lively blues stomp by comparison), and a #folk-rock indulgence titled “River Run” that showcased #BobLewis’s #country-folk leanings.

All of that followed after Mark had played a solo #keyboard warmup intro while the meager audience trickled in. He plunked out tunes like “Here Comes Peter Cottontail,” and “Mr. Jingeling” which was a Northeast Ohio advertising jingle for Halle's department stores. (Their mascot character, named Mr. Jingeling, was a grotesque man in a Christmas elf-type suit who went from store to store enticing kids to come in with their parents to buy, buy, buy!)

The preamble that Mark provided was an excellent example of what we called “Low #Devo.” But for me, the rest of that set doesn’t matter much, in retrospect. However, at age 24, it did provide a painful lesson on an artist’s learning curve.

What did I learn?

(A) Sing your own songs.
(B) Don’t let others discourage you with doubt and fear.
(C) Practice, do more, and talk less.

The real highlight, though — given our critique of technology and of conformity culture — was classic Devo perfection. Mark’s #Minimoog malfunctioned, and it was stuck in a loop of sine wave #noise that swooped up in pitch like a warning alarm in a nuclear plant. He could only flip a switch and make it swoop down. And boy, that’s what he did for what seemed like an eternity, while we stood and watched. He kept putting his hand to his forehead, as if confused, and in pain. (Oh, did I mention that Mark was wearing a full-head chimpanzee mask for the entire set to hide his identity?)

As the “Dada” aspect of Mark’s broken #synthesizer disaster began to fatigue the audience, the other performers walked off stage and into the wings. But Mark and I refused to leave. Because our set wasn’t finished. And I can be heard in Statler’s video, yelling to a stage hand, “Hey! Go Get Those Guys!”

Mark’s improvised “Headache Solo" was Devolved genius, and the thing that still resonates with validity nearly half a century later.

©2022 GVC | GeraldVCasale.com/

Permalink to this story:
GeraldVCasale.com/pages/the-fi…

P.S. Witness historic video clip here:
yewtu.be/yslKp2DKe0I

P.P.S. Today, Bob Lewis admits: “The only reason for having Fred Weber was he was a ‘professional’ singer who fronted #theMeasles and sang with #WalshandtheJamesGang on occasion. In retrospect, an aberration.”

NOTE: #GeraldVCasale in the yellow plastic raincoat in the photo.

#protopunk #postpunk

my latest music release is on #catalogworks and is an algorithmic recombinamatrix of my Opus 1 String Sextet from 2011

https://beta.catalog.works/gavcloud/-1-o-p-us-

#newmusic #sextet #algorithmic #chambermusic #gavcloud