To be released on LP on 2/23/18. Silver vinyl with full color center labels. Recorded and mixed by Cooper Crain (CAVE, Bitchin Bajas). Mastered for vinyl by Patrick Klem. Artwork by Ed Riv and design from HausMo Max.
ADT channels tones and strategies from the free-jazz, electronic, and psych/noise rock vocabularies into ecstatic improvised sessions bursting with fractured rhythms and abstracted melodic lines. The Chicago-based ensemble’s frequently changing membership settles into a quintet of DIY-scene veterans for the Insecurities LP, their first vinyl release and Hausu Mountain debut. ADT’s dense performances flow through contrasting moods and varied textural landscapes, as individual instrumental voices seize the reins for moments at a time and collide with standing harmonies and electronic shapes before slipping back into the chaos below. At any given turn, ADT’s torrent of sound defies genre conventions and expectations of resolution or complication. Recorded in crisp detail by Cooper Crain (Bitchin Bajas, CAVE), their jams crumble into themselves and reform seconds later with new energy — all within the practice of chance-based live performance and the collective development of spontaneous narratives.
The frenetic drum work of Ben Billington (HausMo artist Quicksails) serves as more than just a rhythmic backdrop. His octopus-armed fills and off-the-grid interjections prod each session into peaks of energy and lulls of butoh-like near-nothingness. Carlos Chavarria’s sax segues from massive peals of atonality into moments of smoky noir melody, as his lines animate the group’s occasional treks into Lynchian lizard jazz and twisted groove meditations akin to 70s Miles Davis. Adam Tramposh’s keyboard lays out a fluctuating series of complex chords and twinkling electric organ leads that color the open spaces and surge to the forefront of the mix in bursts of quivering activity. Jake Acosta’s searing electric guitar performances melt into swathes of mutated harmony and fierce, clean-toned twang. He channels the cascading melodic dervishes of John McLaughlin as much as the effect-blasted explorations of Pete Cosey. Kyle Drouin’s synths and electronics serve as a wild card within an otherwise traditional arsenal of “jazz” instrumentation. His washes of drone texture, peals of static noise, and consonant synth figures swirl around and within each jam, both as a foil to other voices and as a connective agent. Taken all together, we hear ADT make group decisions on the fly and flow through sessions whose unique logic and structures refuse to settle for anything less than total stimulation.