Heavy Vanguard: Boredoms // Vision Creation Newsun

We’ve covered a lot of ground with Heavy Vanguard, from improvisation to sound art, and nearly ever genre someone has ever played around with, but you might notice there isn’t a whole lot of diversity in terms of nationality. Most of the acts we’ve gone over have been American or European. There’s nothing wrong with this, of course—good art is simply good art, and we shouldn’t put so much emphasis on the person creating the music as opposed to the music itself—but music knows no borders or boundaries, and this counts exponentially so for the avant-garde. There are free jazz scenes all over the world, and radical music being created in every country. This is why we finally decided to cover one of the countries best known for their experimental music, Japan, with one of the country’s best experimental rock bands ever, Boredoms.

Heavy Vanguard: Red Krayola // The Parable of Arable Land

Let’s dive into our album this week: The Parable of Arable Land by experimental rock/psych band Red Krayola, made in collaboration with “The Familiar Ugly”—a group of the band’s friends. RK consisted of Texas art school students, and this “outsider” influence (i.e. not trained musicians) shows up in their music in the best way possible. Lo-fi? Check. Tons of tracks that sound like noise (referred to as “Freak-Outs”)? Double check. If you like your music psychedelic, experimental, and given to flights of all-out, Brötzmann-esque free jazz, this is your record.

Heavy Vanguard: Laurie Anderson // Big Science

Laurie Anderson is a woman who wears many hats—part musician, part director, part visual artist, all-around performance artist—and she’s made waves by combining all these mediums together in new and interesting ways. Big Science was her debut album, and is still very much considered her magnum opus. Within this album, Anderson presents herself as an artist with visions beyond the aural, using spoken word, odd instrumentation (seriously, there’s a fucking bagpipe on this album) and heavy synth use to create something entirely unique, beautiful, and highly representative of the 1980s.

Heavy Vanguard: Pan.Thy.Monium // Khaooohs and Kon-Fus-Ion

We’ve been dragging our feet a bit in talking more about avant-garde metal; since we at Heavy Blog cover the likes of Gorguts and Dodecahedron quite a bit, Scott and I wanted to find something that wasn’t as well-known but still well-regarded. So, Scott found Pan.Thy.Monium—a side project of Dan Swanö (Edge of Sanity) that checks a lot of avant-garde ticks off with their final album Khaooohs and Kon-Fus-Ion.

Heavy Vanguard: AMM // Before Driving To The Chapel We Took Coffee With Rick And Jennifer Reed

Free improvisation is hardly a new subject on Heavy Blog; Scott and I have written extensively on the subject. However, we haven’t touched on some of the more interesting modes inherent in the genre—namely, EAI, or electroacoustic improvisation. The definition of EAI, along with most avant-garde “genres”, is murky at…

Heavy Vanguard: Naked City // Torture Garden

We’ve talked about John Zorn before on Heavy Vanguard (and everywhere else too), but not much about the project he’s most famously associated with: Naked City. Founded in 1988 and featuring a handful of the New York Downtown scene’s best players (Wayne Horvitz, Henry Cow’s Fred Frith, Bill Frisell, Joey Baron, and, later, Japan’s own Yamatsuka Eye) Naked City was on a quest to test the limits of a rock band format through a sort of free jazz/grindcore hybrid that played through nearly every style of music ever, all within a matter of seconds, referred to as “miniatures”.

Heavy Vanguard: Ornette Coleman // Free Jazz [20th Episode!]

So, twenty episodes, and we’re still kicking…I guess that’s something to be proud of! Anyway, when we come to special numbers of episodes, Scott and I like to pick an album that’s had a huge effect on us and talk about it without worrying about the thirty-minute timer. For our tenth episode we covered Miles Davis’s Bitches Brew, and we again dive into jazz territory with Ornette Coleman’s Free Jazz.