Maxed out and burning hot nasty, Electric Rag brings together the electric organs, electronics and alto sax of Jean-Luc Guionnet, with the closely amplified drums and percussion of Will Guthrie.
After years of playing together in the minimalist pointillist free jazz noise core trio ‘The Ames Room’ (with Clayton Thomas on bass) Electric Rag offers up another point of view on a musical history of nearly 15 years of playing together.
The 8 titles of Electric Rag draw on their various experience in electronic music, free improvisation and experimental sound research, however the music is deeply rooted in their love of jazz, in its most potent, aggressive and antisocial form.
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Kythibong, 2021
Will Guthrie is an Australian drummer / percussionist living in France. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, junk, amplification and electronics.
He plays solo and in various projects such as THE AMES ROOM, ELWOOD & GUTHRIE & THE SOMMES ENSEMBLE. His music has been released on labels such as Gaffer Records, Erstwhile, Clean Feed, 23five, Editions Mego, Ipecac and his own label Antboy Music.
Regular collaborators past and present include Oren Ambarchi, James Rushford, Jean-Luc Guionnet, Mark Fell, Roscoe Mitchell, Anthony Pateras, Chulki Hong, Jérôme Noetinger, Keith Rowe, David Maranha, Ava Mendoza, the film maker Hangjun Lee and choreographer/dancer Mette Ingvartsen.
"My musical work subdivides itself into as many ways as occasions arise for me to think and act with sound and forms. Those occasions have always to do with a strong meeting with an outside element : an instrument (saxophone/organ), a theoretical idea (what is "rumour"?), and mainly a collaborating friend (Lotus Edde Khouri, Éric La Casa, Thomas Bonvalet, Seijiro Murayama) ... or the long term adventure of a team (Hubbub, Ames Room, Jupiter Terminus ...). There then follows a collection of themes which, in turn, influence the evolution of the musical work and define the direction of meetings to come: the thickness of the air, the pidgin, the musical instrument considered as affective automaton, sound as a signature of space, signature of objects, signature of what it is not... The coming emotion is made out of all these strata and the sliding of one over the other during the act of listening. When music is giving time."
