Scott Morrow and Patrick Hajduch, Author at ALARM

Morrow vs. Hajduch: Keith Kenniff’s The Last Survivor soundtrack

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Keith Kenniff: The Last Survivor (Fake Four / Circle Into Square, 10/19/10)

Morrow: Screened at different independent film festivals earlier this spring and summer, The Last Survivor is a documentary film about the lives of four genocide survivors — one each from the Holocaust, Rawanda, Darfur, and Congo. Its goal is to spread awareness of atrocities around the globe but also to inspire action and get genocide survivors involved in peace movements.

The film has won a handful of awards, including best documentary at the Oxford Film Festival, and it’s still presenting its survivors’ powerful stories around the country — notably with its first university screening at NYU in late October.

The Last Survivor Trailer from The Last Survivor on Vimeo.

Morrow vs. Hajduch: Seven That Spells’ Future Retro Spasm

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Seven That Spells: Future Retro Spasm (Beta-Lactam Ring, 5/20/10)

Seven That Spells: “Olympos”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/12/Seven_That_Spells_Olympos.mp3|titles=Seven That Spells: “Olympos”]

Morrow: Based in Zagreb, Croatia, Seven That Spells plays a powerhouse fusion of psychedelic rock, math and jazz influences, and full-tilt drumming assaults. The group, originally a power trio, is led by guitarist/keyboardist Niko Potočnjak but has undergone radical changes in its lineup over its relatively brief tenure, and its last album, Cosmoerotic Dialogue with Lucifer, was a noisy, progressive, multi-drummer attack on the senses.

Morrow vs. Hajduch: Umberto’s Prophecy of the Black Widow

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Umberto: Prophecy of the Black Widow LP (Not Not Fun, 10/26/10)

Umberto: “Red Dawn”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/11/Umberto_Red_Dawn.mp3|titles=Umberto: “Red Dawn”]

Hajduch: Horror-disco producer Umberto has become a quickly rising star since Chicago label Permanent Records gave his cassette/CD-R debut, From the Grave, a proper CD/LP release last year. Now he has returned with Prophecy of the Black Widow, an LP-only release courtesy of Not Not Fun. And though From the Grave cribbed liberally from 1970s horror-soundtrack juggernauts Goblin, the music this time around is much closer to everything great about John Carpenter‘s soundtracks, especially Assault on Precinct 13 and The Fog.

Morrow vs. Hajduch: Chicago Odense Ensemble

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Chicago Odense Ensemble: s/t (Adluna)

Chicago Odense Ensemble: “Soup”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/11/Chicago_Odense_Ensemble_Soup.mp3|titles=Chicago Odense Ensemble “Soup”]

Hajduch: Chicago Odense Ensemble is the latest foray of Rob Mazurek (Exploding Star Orchestra, Chicago Underground, Isotope 217) into large-group jazz fusion. He’s brought along some of his previous collaborators (Jeff Parker and Dan Bitney of Tortoise and Isotope 217; Matt Lux, also of Isotope 217) as well as some fresh faces (Jonas Munk and Jakob Skøtt of European psych band Causa Sui and percussionist Brian Keigher).

Morrow vs. Hajduch: Foetus’ Hide

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Foetus: Hide (Ectopic Ents, 10/1/10)

Morrow: Foetus is the best-known moniker of eclectic composer JG Thirlwell, whose multifarious recordings stretch across art rock, no wave, electronica, exotica, chamber music, big-band jazz, classical orchestrations, and much more. He has fought the classification as being a forebear of industrial music, particularly for his early material, and his later projects — Steroid Maximus, Manorexia, and the material for The Venture Bros. TV show — have expanded his exotic instrumentals.

Underneath it all, his material as Foetus has tied the aesthetics together, with eccentric and melodramatic vocals helping to create his “poppiest” songs. Hide is his first studio album as Foetus since 2005.

Morrow vs. Hajduch: John Zorn’s Ipsissimus

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

John Zorn: Ipsissimus (Tzadik, 10/5/10)

John Zorn: “Warlock”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/12/John_Zorn_Moonchild_Warlock.mp3|titles=John Zorn: “Warlock”]

Morrow: In 2006, indefatigable composer John Zorn launched another of his countless ensembles — Moonchild, a sludgy power trio built around vocalist Mike Patton, bassist Trevor Dunn, and drummer Joey Baron. In the four albums that began with Moonchild: Songs without Words, Zorn has used the group to explore heavy and spastic improvisations amid composed riffs and directed song structures.

The lineup has expanded a bit for a few releases, but that wild trio is the group’s heart, with Patton offering wordless shrieks, chants, and vocal spasms over Dunn and Baron’s distorted notes and progressive rhythms. Ipsissimus is the group’s fifth release in less than five years, and it’s the first to prominently feature the guitar work of Marc Ribot, who appeared on one track of the 2008 release The Crucible.

Hajduch: In description, this sounds like a whole lot of John Zorn’s projects (in the case of Naked City, you sub out Mike Patton and add Yamantaka Eye of Boredoms, but the description still fits to an extent). In practice, it’s very different. Patton feels extraneous to an extent — like Attila Csihar‘s work with Mayhem, it can seem sort of like there is just this guy, making noises. But also like Attila/Mayhem, there are moments where it just fits perfectly and feels exactly right.

Morrow vs. Hajduch: †‡†’s untitled CD-R

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

†‡†: untitled CD-R (Disaro, 9/9/10)

†‡†: “Goth BB”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/10/Ritualz_Goth_BB.mp3|titles=†‡† (Ritualz): “Goth BB”]

Morrow: Verbalized and alternately written as Ritualz, †‡† is an unnamed man from an unknown location, making a relatively dark and/or Gothic version of electronic dance music. He has been lumped with the “witch house” scene, which also has been dubbed “drag,” “haunted house,” and a few other things.

His sound is comparable to contemporaries like Salem, oOoOO, Mater Suspiria Vision, etc., and he’s far from the only one with the very-difficult-to-Google name. There’s also I††, ▲▲▲, and other random combinations of symbols.

Morrow vs. Hajduch: Mikrokolektyw’s Revisit

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Mikrokolektyw: Revisit (Delmark, 6/15/10)

Mikrokolektyw: “Running Without Effort”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/10/Mikrokolektyw_Running_Without_Eff.mp3|titles=Mikrokolektyw: “Running without Effort”]

Hajduch: Mikrokolektyw (pronounced micro-collective) is the Polish duo of Kuba Suchar and Artur Majewski. Together, they make a very primal sort of experimental jazz, rooted in Suchar’s one-man rhythm section of drums and Moog. Atop this framework, Majewski adds restrained, thoughtful trumpet lines. The result is head-nodding and hypnotic, and at times would not sound out of place in an Italian horror film scored by Goblin.

It also sounds like classic Chicago jazz fusion, like what Rob Mazurek‘s Isotope 217 and various Chicago Underground ensembles have accomplished. The sparse, melodic trumpet playing owes a lot to Miles Davis‘ In a Silent Way, and there’s a punchy moment of ensemble playing (here, “ensemble” means Majewski doubled) in “Watermelon from the 80s” that sounds like a riff from a Fela Kuti song. This guy would definitely call the cops on this album.

Morrow vs. Hajduch: Mark McGuire’s Living with Yourself

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Mark McGuire: Living with Yourself (Editions Mego, 10/12/10)

Mark McGuire: “Clouds Rolling In”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/09/Mark_McGuire_Clouds_Rolling_In.mp3|titles=Mark McGuire: “Clouds Rolling In”]

Hajduch: Living with Yourself is the most recent solo-guitar release of Mark McGuire, who also plays guitar in Emeralds. Much like Emeralds, McGuire’s music spins a gradual yarn over a combination of picked arpeggios and buzzing drones, delayed and looped and layered into a hypnotic tapestry that has become impossible to ignore.

Morrow vs. Hajduch: Venetian Snares’ My So-Called Life

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Venetian Snares: My So-Called Life (Timesig / Planet Mu, 9/7/10)

Venetian Snares: “Hajnal2”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/09/Venetian_Snares_Hajnal2.mp3|titles=Venetian Snares: “Hajnal2”]

Hajduch: Prolific breakcore wizard Venetian Snares (Aaron Funk) is back in 2010 with his zillionth full-length, My So-Called Life. If you’re a fan, you know the deal — furious breakbeats at breakneck tempos in unusual time signatures.

Morrow vs. Hajduch: PVT’s Church With No Magic

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

PVT: Church With No Magic (Warp, 8/10/10)

PVT: “Light Up Bright Fires”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/09/PVT_Light_Up_Bright_Fires.mp3|titles=PVT: “Light Up Bright Fires”]

[Stream all of Church With No Magic on PVT’s website.]

Morrow: Formerly known as Pivot, Australia’s PVT was formed as an improvisational quintet in the late 1990s before transitioning to an electro-rock trio. The group maintained a number of experimental, freeform elements, but it focused on synth grooves and a mixture of live and digital beats.

Its new album, Church With No Magic, is its most composed yet, seemingly dropping the improv parts while delivering some major pop melodies and vocal hooks.

Hajduch: Most of this album sounds huge and energetic, and surprisingly unique for how boldly the band wears its influences on its sleeve. The echoed vocals of the title track, in particular, sound exactly like Suicide without coming off as mimicry. (The best example of Suicide worship, by the way, is The Cars‘ “Shoo Be Doo,” which is terrifying and unexpected.)

Morrow vs. Hajduch: Bongripper’s Satan Worshipping Doom

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Bongripper: Satan Worshipping Doom 2xLP (August 13, 2010)

Bongripper: “Hail”
[audio:http://alarm-magazine.com/wp-content/uploads/2010/09/Bongripper-Satan-Worshipping-Doom-01-Hail.mp3|titles=Bongripper: “Satan Worshipping Doom”]

Morrow: Chicago’s Bongripper makes the type of music that you might glean from its name — bleak, crushing doom metal that’s built on stoner riffs and down-tuned guitars. I will preface this by saying that I’m not a huge fan of the genre, but the band already has two strikes in my book for the lame pot-related name and the (presumably tongue-in-cheek) Satanism.