MICHAEL EVANS SOUNDS

In the deepest part of the city there are no buildings. Moonlight resonates from within
basements into the night, its only illumination, just as sound is the only illumination into silence.

Meanwhile, two travelers follow different routes towards a single destination, which
is everywhere and nowhere simultaneously, a place that existas as an ever changing motion,
a flow of unified soundings calling to me with the dynamism of a forest.

I hear the back country of the constellations in this music, a rough and tumble fluidity, a barn dance with benign movie monsters of supreme elegance.

I go for a swim, bathed in this audible light.

- Davey Williams

With these gentlemen on the edge of their improvisational seats and allowing their future musings to connect and disconnect, Fulminate Trio conjures the fire god. Their audio poltergeists hover, dart, collide, transmute and obscure unison and contrary motion's auditory focus.

Their influences include Sonny Sharrock’s “Black Woman” period, Alice Coltrane’s organ music, Bernard Hermann’s film music, slow moving Japanese folk songs and Tony Williams’ Lifetime. They invoke their own ordered forms of chaos.

The music was recorded on March 12, 2007 at the T.T. Bunker Studios in Brooklyn, NY. Engineered and mixed by Seth Misterka. Mastered by Kato Hideki at Shadow World, Brooklyn, NY.

All tracks performed on the Mr. Haney standard, homemade, found and prepared percussion kit. All tracks recorded live with No overdubs.

Eschewing bombast and grandstanding, percussionists Michael Evans and Jeff Arnal are sympathetically
matched in their sensibilities, creating settings that are not lacking for traditional melodics and harmonics because they
fully understand the musical reach of their drums. Born of improvisation sessions, the diversity on these fourteen pieces is striking.
A full album experience has been created by smartly sequencing the pieces to create a dramatic arc that celebrates warmth, surprise and adventure. They jump happily into skittering density, as on the busy precision of "Fear Active" and the elliptical "Opening."
They lock horns on hi-hats (the cheekily titled "Two Hats are Better than One") and wood blocks (Drifting W-Peer").
There are also moments of open ended expansiveness (With a Hint Of...") and even lightly comedic portraiture (Labrador Labyrinth"). Two drummers create one full and balanced meal.

- DAVID GREENBERGER
SIGNAL TO NOISE 2008