Splatter Trio, by The Splatter Trio

Splatter Trio

by The Splatter Trio

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1.	If Then 00:37	buy track
2.	Crumple 01:36	buy track
3.	Progress 01:24	buy track
4.	Angry Instances 01:10	buy track
5.	Splatter Waltz 03:00	buy track
6.	Music (for Mingus) 05:19	buy track
7.	Garden 03:27	buy track
8.	Peck 'n Paw 01:53	buy track
9.	Sunda 05:11	buy track
10.	Python 05:43	buy track
11.	Burnt Norton 01:53	buy track
12.	'66 Station Wagon Theme 01:53	buy track
13.	Cigarettes 04:43	buy track
14.	Jesus deSade 04:32	buy track
15.	Islam in Berdoo 06:08	buy track
16.	Above Paradise 03:18	buy track
17.	Outdiana 05:55	buy track
18.	Shit Hits The Fan 02:58	buy track
19.	KPFA Theme 00:12	buy track
20.	Sheesh (Monk's Dilemma) 01:11	buy track
21.	Dissolve/I Found My Thrill (for Miki) 03:07	buy track
22.	Sludge Hiatus 02:28	buy track
23.	If Then (Brief Reprise) 00:05	buy track

about

"When the musicians play together each goes his own way, but they meet from time to time." Cambodian proverb

Dave Barrett: saxophones, other winds, black eye
Myles Boisen: doubleneck electric guitar/bass, Casio
Gino Robair: drums, marimba

Guitarist Myles Boisen likens a Splatter Trio show to watching an artist paint: "...you get to see us creating our art in front of you rather than offering prepackaged musical experiences."

The name of the band reflects the messy act of creation: "We chose the name 'Splatter' because that's what we wanted the music to be like. Painterly, but also kind of bloody... half-Pollock and half-Peckinpah."

Splatter formed after saxophonist Dave Barrett (then a member of Club Foot Orchestra) saw a 1987 performance of John Zorn's Cobra Ensemble that included Myles and Gino. Years of collective experience with the likes of Anthony Braxton, ROVA Saxophone Quartet, Snakefinger, Fred Frith, and Dead Kennedys gave the three exceptional skill with experimentation and improvisation.

Rather than being slaves to song structure, they play with it. Gino calls structure "our main material, like sonic playdough... as if the playdough just sort of appears as we play." Myles says, "We don't get lost, but we also don't know where we're going."

When these musicians play together, they seem intent on surprising and delighting each other. They typically have no set list; instead, one of them starts playing something and the others play whatever makes sense at the time, sometimes complementing the other musicians, sometimes going off in a completely different direction. The result gives the audience a constantly changing stream of squawks, beats, swirls, jokes, splashes, and noise, an improv soundtrack for the listener's own private contribution.

credits

released October 13, 2018

Recorded direct to DAT, August 30 and 31, 1989, at Different Fur Studios, San Francisco; Howard Johnston: engineer. Photos by Ed Rachles.

Reviews:
"This is West Coast avant-garde - a little world music, some free improv, even a bit of rock and roll...it reminds one a lot of that downtown NYC thing, but with more coherence." --Option Magazine

"There are tracks which are hard and fast, short and sour, and some gear stripping changes of pace and direction..." --The Wire

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