CD RE-RELEASE OF THIS 1983 LP OUT NOW ON MUSIC 'A LA COQUE !!**********************************************************
********************Angular and funky post- punk jazz rock it smacks variously of the magic band, ornette coleman's prime time, pigbag, rip rig & panic, and the voice of god collective (THE WIRE - AUGUST 2006)*******************************************************
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****************Questa ristampa è una gran bella cosa e riporta sugli schermi una formazione amaramente perduta tra le maglie del tempo (BLOW UP ..97 )***********************************************************
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************The (re-mastered) music of Bass Tone Trap sounds remarkably fresh after all those years. Their punk jazz offers a nice mix of british funky new wave and free improvising ( VITAL WEEKLY number 532 )***********************************************************
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********Le résultat : la musique dune fanfare punk, allant voir, sans se poser de questions, du côté du Krautrock, de la No Wave et du Free Jazz. (INFRATUNES) ************************************************************
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******All of inventions are bright creative and technically unexceptionable, groovy and crazy, - kind of a noir avant-garde exuberances magnum opus, even more worthy a buy considering the three bonus tracks (whose the last is an odd review from a radio slot made by two girls) here featured. Fantastic.
( KOMAKINO 2/05/06 )***********************************************************
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**********WRITE FOR BUYING, INFOS, WHOLESALE PRICES AT
[email protected]***********************************
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Bass Tone Trap was formed in 1981 when Paul Shaft and Martin Archer's previous group, the ethno-Stockhausen inspired "de tian", possibly Sheffield's unlikliest ever group, co-opted additional recruits Carver, Jasnoch and Infanti from the Sheffield Free Music Group. After an initial period with synthesizer player Ian Clarricoates, the group was completed by the addition of vituoso free jazz / RnB sax man Derek Saw.Given their respective backgrounds one might have been expecting the new group to be more interested in amplified egg slicers than in the riotous jazz-punk pell-mell which quickly became the group's trademark sound. But as listeners as well as players all the group were equally interested in pop as well as experimental musics, and saw a role model / middle ground in, especially, the electric band music of Ornette Coleman. The result was a more or less equal mix of Prime Time, Art Ensemble of Chicago, free improv and white boy funk - not so unusual when you look at the corresponding "No-wave" scene in New York at the same time, or Don Was' Ze label experiments. More infos and related BTT project at discus-music.co.uk
