OTOROKU

Vi Är Alla Guds Slavar is the latest missive from the long-running duo pairing of Mats Gustafsson (The Thing, Peter Brötzmann Chicago Tentet, etc) and Thurston Moore (Sonic Youth, Chelsea Light Moving, Dream/Aktion Unit, etc). Thurston had first come across Mats' playing on a duo disc with Barry Guy and had assumed he was one of those older beardy European improv guys - Remember this was before the internet and everyone knew everything. Their first actual meeting goes back to the early 90s at Blue Tower Records in Stockholm (now Andra Jazz - arguably the greatest jazz record store in the world) on one of Thurston's frequent soundcheck-skipping discaholic binges. The young guy behind the counter was blowing his mind with side after side of crazy rare jazz, test pressings, acetates and more. Running late, he offered Thurston a lift to the gig and en route asked if there was any particular records he was looking for. "There is this sax player - Mats Gustafsson - I'm looking for some of his stuff" "That's me" says the young guy - and there started an intense friendship that has manifested intself in music through their discaholics anonymous trio (with Jim O'Rourke), Gustafsson's large scale HIDROS 3 composition for Sonic Youth and much more besides… You can watch a video interview with Thurston where he tells the story of their first meeting here:

Mats Gustafsson & Thurston Moore – Vi Är Alla Guds Slavar

gjērhan, (!) From subterranea, sweat, haze and dedication emerging out of intimate and intense weekly meetings begun in 2009 – their first, 2012 public performance, squeezed into a London basement was a sheer, vexed and exhilarating smack of organic, heterodyning ideas, and taut, lowbeating lumps. Reemerge/revanish. With the economy of familiar/traditional raw tools feedback, drumkit, altosaxophone, time, space and emotion lll人 move from molten musical pasts to grow future pleasures in sound. The ingredients are familiar, but the listening is not. At its heart is a still, undecorated concentration fuelling an extreme testing of limbs, language and order. This has no concern with collapsing difference into a vogueish flattened mass froth, but searches – forensically, ceaselessly – for something to chew, in the challenge of discretion and integrity or asylum in the body of its instruments. Akilsakilan learning, Doughnut. Finding, twisting and hammering out an expanding musical universe balanced only by its own logics – lll人 have few obvious comparisons. Their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out. Perfectly Reasonable. [The second side was recorded at a summer fundraiser concert for Project Fukushima (This followed a solo performance by Evan Parker who later joined the group for a quartet) and the first as part of the inaugural INTERSECT festival four months later.] Recorded at Cafe OTO on 28 August 2013 (Fukshima) by Stuart Bannister and 7 December 2013 (Intersect) by Kate Arnold. Mixed by Paul Abbott. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Design by Paul Abbott. Inner sleeve by Paul Abbott, Cara Tolmie and Conal Mcstravick

lll人 – gjērhan