DISLOCATION  Coyote's Call  LP   (Fusetron)   10.98

After being introduced to them on the Herz Aus G.R.O.S.S. compilation from RRRecords, I've been on the hunt for Dislocation's older releases, some of which turned out to still be in print. Their 1996 Lp Coyote's Call is one of the few US releases of Dislocation's music, a compilation of live and studio improvisations that was issued on the Fusetron label that we were able to pick up for the shop. Often compared to Borbertomagus, I've thought of Dislocation as more of a collision between the Ayler/Brotzmann school of free jazz and early 90's Japanese harsh noise in the vein of CCCC or some of K2's less devastating recordings. The improvisational saxophone playing is fused with low-fi guitar rumble and electronic noise, and the band frequently moves into skull-caving levels of intensity out of their smoldering industrial soundscapes.

Coyote's Call starts off with pretty warbling cosmic tones, then drifts into a sparse arrangement of Yoshinori Yanagawa's improv sax bleat and scrape, blurts of low-end guitar noise and electronic squeal, the sax much "jazzier" than a group like Borbetomagus and not as full-on assaultive, but still quite noisy and chaotic. The slow-burn blowing and cracked electronics eventually surge into rumbling fragmented noisescapes that really erupt when the guitar is suddenly cranked to ten and the sax takes off on a frantic blowout over the hissing, howling distortion and sputtering amp noise and juddering electronic rhythms. As it moves into the second section, the band continues to introduce more and more distortion and noise, junk metal clattering everywhere, blasting looped electronics that resemble damaged drum machine rhythms, growing more frenzied and violent as it goes on, the sax climbing into higher register scales, screaming over the industrial rumble, shortwave hum and electronic fx.

The b-side picks right up from there, continuing on with the onslaught of heavy amp/guitar generated noise, effects, feedback and manic blowing and by the end becomes a dense, cacophonic din of free jazz howl that stretches on for some time before returning to the blissed-out cosmic tones from the beginning of the record.

Like their Carve Another Notch album that is also on this week's list, this is another fantastic album of volcanic, post-apocalyptic improv from Dislocation, and highly recommended.