Georges Tonla-Briquet wrote a very beautiful review for the JAZZENZO magazine on DIRK SERRIES’ 2nd installment in his solo acoustic guitar explorations. The double vinyl is available through our bandcamp store.

“Anderhalf jaar na zijn debuut als solo gitarist op zijn eigen label komt Dirk Serries met een vervolg. Het werd meteen een dubbel vinylalbum. Het gaat om het resultaat van twee verschillende opnamedagen verspreid over de twee lp’s. Het achterliggende idee is uiteindelijk een reeks van zeven platen uit te brengen gewijd aan de Höfner archtop guitar. “Noem het een onderzoek naar de veelzijdigheid van deze, naar mijn gevoel, waanzinnige reeks van gitaren uit de jaren vijftig en zestig,” zegt Serries. “Eveneens is het ook een persoonlijke zoektocht als solo muzikant binnen het kader van de vrije improvisatie. De ene gitaar speelt al wat vlotter dan de andere en misschien ligt daar juist de selectie om telkens ook de luisteraar een variatie te bieden tussen de strakkere en eerder open gitaren, tussen de warmere en hardere archtops.”
De gebruikte modellen deze keer: een Höfner 457/S/E1 archtop model uit 1956 voor ‘II’ terwijl hij tijdens ‘III’ een Höfner 459 archtop uit 1952 in handen had.
Een eerste aanslag op de snaren wijst bedrieglijk naar wat de intro van een zuiver rock-‘n-roll nummer zou kunnen worden. Maar dit is Dirk Serries natuurlijk, de man die zweert bij improvisatie en vrijheid. Geen geijkte patronen dus maar ogenschijnlijk versplinterde expressies die volgens een bepaalde Dirk Serries-systematiek geassembleerd werden.
De korte tweede track ‘Conflict’ maakt alles wat duidelijker. Een iets assertievere aanpak en meteen ook net iets drukker. Bij elk nummer vergroot het potentieel. De hoekige uitwerking blijft een centraal ankerpunt. Stiltes worden even vakkundig ingelast evenals het geschuifel over de snaren. ‘Scourge’ is daar een uitstekend voorbeeld van. Serries schrikt er evenmin voor terug om af en toe een eigen ‘picking’ stijl te introduceren in ‘Transient’, ‘Modal’. Hij maakt ook telkens gebruik van andere plectrums zoals houten, pvc en bamboo alsook andere houten en ijzeren tools om de picking die specifieke intonatie en speelstijl te geven. Luister naar ‘Imminent’ en probeer te achterhalen welke kleine hulpmiddelen hij hanteert. Pedalen of andere technische apparatuur komen er echter niet aan te pas. Wel een strijkstok zoals te horen is in ‘Lineage’. En dan die meesterlijke laatste noot om de eerste plaat af te sluiten! Dit alles is slechts een summiere samenvatting van wat zich zoal afspeelt op ‘II’. 
Sessie ‘III’ begint met een meer percussieve aanpak getekend door een urgente ondertoon om van hier verder te evolueren naar varianten van wat hij reeds voordien deed. Een terugkerend fenomeen daarbij is het juxtaposeren van implosies tegenover extrapolaties. De krijtlijnen tussen de verschillende etappes worden nu eens totaal weggevaagd om even later opnieuw benadrukt te worden. Zo ontstaat er een continue transmutatie van de basisprincipes.
Elk segment of instant gecomponeerd stuk kreeg een titel mee en verwijst naar de stijl, de structuur of het karakter. Soms is dat mathematisch dan weer filosofisch of analytisch. Toch is dit alles zeker geen art for art’s sake. We kijken alvast uit naar de volgende delen.”

“Proving once again that any instrumental grouping works with the right ideas this trio has created a leading-edge series of memorable improvisations.”

Here’s an excellent review by Ken Waxman for JAZZ WORD (Canada). RENNIE/ROBERTS/SERRIES’ TRANSLUCENCE album is still available through our bandcamp store.

“Working out a harsher and most liberated take on an infrequently constituted musical meld are baritone saxophonist Cath Roberts and trombonist Tullis Rennie, both from the UK and Belgian acoustic guitarist Dirk Serries. Although John Zorn/George Lewis/Bill Frisell and Jimmy Giuffre/Bob Brookmeyer/Jim Hall both profitably excelled in this configuration, their work was more song oriented. In contrast this European trio probes deeper into free improvisation, consciously pushing the instruments’ limits, but with enough maturity to encompass linear motion where appropriate. Rennie’s experience ranges from membership in a Belfast-based free-improvising ensemble to creating multi-media-presentations, while Roberts improvises with the likes of Ollie Brice. Serries has played with free-thinking musicians across Europe. Alternating between slashing rhythmic twangs and occasional tingling clips, Serries bridges the saxophonist’s frequent guttural snarls and tongue slaps and the trombonist’s portamento grace notes and plunger growls. The mix sometimes results in harmony, but with lyricism an accidental byproduct. Mining timbres from within their horns’ body tubes as well as from keys, valves and bells, Rennie and Roberts sporadically create hornpipe-like melodies or exercises in metal percussion. More frequently, as on “Moving Sideways”, half-valve burbles and disassociated split tones join for slightly above human hearing textures, with string strums extending and affirming horizontal movement. These oases of near-silence are spelled by raucous brass wah-wahs and reed flattement and scoops as intense as in any Free Jazz session. But as they evolve in double counterpoint Serries’ pointed flanges cut through the sonic murk. Culminating on the final and title track,  Roberts’ strident scoops and Rennie’s clenched snorts work up to a climax along with powerful guitar twangs only to dissolve into near silence at the half way point. Punctuating the quiet with unexpected snarls and slides, new comprehensive timbres end the improvisation while promising more creative music to come. Proving once again that any instrumental grouping works with the right ideas this trio has created a leading-edge series of memorable improvisations.” Jazz Word – Canada

A NEW WAVE OF JAZZ is entering the realm of cassette albums again.  Consider it a side series for the more abstract, electric and noisy in free improvisation and avant-garde.  Again with a minimal design by Rutger Zuydervelt, each cassette is limited to 60 copies – housed in a clear box, duplicated on solid black tapes, 4 panel j-card and shrinkwrapped. These are the first 2 albums we’re releasing on August 20th !

COLIN WEBSTER & MATTHEW GRIGG – GOOD TO BE BACK IN REALITY

Saxophonist COLIN WEBSTER (London) and electric guitarist MATTHEW GRIGG(Bristol) hooked up for a relentless session that is equally abstract, full-on in your face and interactive.   Their duo is the other side of the coin, both artists with their four feet in free impro soil but what they achieve together is a melange that break barriers, provokes while focusing on the smallest electric and alienating details, both overwhelming and subtle.  Impressive.
 Order/listen to the album on bandcamp.

DIRK SERRIES with ANTON MOBIN / QUENTIN STOKART – STOCHASTIC REGIONS

That label curator and guitarst DIRK SERRIES has a knack for the abstract and wilful isn’t a secret and it was only a matter of time when he would hook up with French soundartist ANTON MOBIN (France) either.  So here he’s teaming up with Anton,using his impressive prepared chamber, for a split tape that introduces another Belgian guitarist on side B.  With QUENTIN STOKART (Belgium), on electric guitar, the dialogue between the acoustic and electric is less than overpowering.  Fully dissecting, styles overboard session that is constantly on the edge of sound implosion.  With ANTON MOBIN the duo approaches their collaboration slightly different, here the balance is more refined, the acoustic guitar more open and thematic while Anton with his unique soundbox, the prepared chamber, swirls around, interacts and is complimentary. An interesting comparison in styles made possible on a split tape. Order/listen to the album on bandcamp.

UK’s Musique Machine just reviewed DIRK SERRIES’ Solo Acoustic Guitar Improvisations II/III, released on A New Wave Of Jazz last May. The double vinyl is still available from our bandcamp store.

“3 out of 5 stars. Solo Acoustic Guitar Improvisation II/III is a double vinyl release taking in twenty-six tracks of darting ‘n’ jagged improv from Belgian’s Dirk Serries. The material references genres like the blues, angular jazz, scarping ‘n’ raw folk, acoustic HC punk, and even demented no-wave funk- but it really creates its own rapidly shifting and jarring sonic universe. The release appears on Belgian’s New Wave Of Jazz, which is also run/ curated by Serries. The two 140 gram slabs of black vinyl are present in a single card slip- this features on one side a write-up about the material by Guy Peters, and on the other the track listing/ basic production details- all the tracks were mono recordings captured with a mic 50CM from the guitar. With the texts in light grey against a plain white backdrop. The release is ltd to 200 copies, and can be purchased directly from bandcamp.  The twenty-six tracks each have runtimes between one and near five minutes- and really the material remains fairly rapidly jagging and manic throughout. We open up with the seesawing slide, strum and brief pauses of “Chroma”. There’s tight pluck meets high-pitched scrub ‘n’ pick of “Modal”. We have the jagged neck fiddle ‘n’ violently muted slide of “Sematic”, or darting-to-tolling bass discord meets manic pick ‘n’ chime of “Elegiac”. Moving onto the second disc we have wondering twang meets constricted pluck of “Sense”. There’s stop-start strum, pick, and neck scrub of “Dyad”. Or the angular bow meets jarring rub ‘n’ fiddle of “Graph”. With the second disc playing out with the fumbling neck buzz meets twang ‘n’ grate of “Molecule”. Serries take on acoustic guitar-based improv is both manic and eventful- it’s a release that gives you little time to breathe or ponder. But if you are after raw yet inventive improv Solo Acoustic Guitar Improvisation II/III will certainly invigorate and reward” Musique Machine – UK

Eyal Hareuveni wrote a lovely review of HYDRA ENSEMBLE’s VISTAS on SALT PEANUTS. Check it out. The album is available here.

The Hydra Ensemble is a pan-European quartet featuring Croatian cellist Lucija Gregov, Swiss cellist Nina Hitz, Portuguese double bass player Gonçalo Almeida and Dutch electronics wizard Rutger Zuydervelt (known also as Machinefabriek), All are working in the Netherlands and all with different musical backgrounds and interests but determined to stress how intertwined some presumably distinct music genres have become in their daring free improvised dynamics. The music of the Hydra Ensemble constantly and effortlessly shape-shifting between chamber contemporary music, free improvisation, sonic exploration, experimental electronics and anything between, and highlights the versatility of the four musicians.

«Vistas» is the sophomore album of this quartet, following «Voltas» (Inexhaustible Editions, 2021), and it was recorded live at the Worm club in Rotterdam during the Covid-19 pandemic (without an audience, but streamed live) in April 2021. The first «Vistas» is a cinematic and unsettling, chamber drone piece. Almeida’s double bass sets its pulsating heartbeat, Gregov and Hinz’s cellos build the tension with heavy, resonant layers of sound and texture, and Zuydervelt acts as agent provocateur with his disruptive yet subtle and clever palette of electronics.

The following pieces deepen the dark, melancholic spirit of «Vistas» and its fragile, patient and detailed dynamics. On the third «Vista», Zuydervelt’s electronics charge the sonic searches of Almeida, Gregov and Hinz with their intense demonstration of extended bowing techniques with suggestive tension. The tension intensifies even more in the trance-like, mysterious ritual of the fourth «Vista». The fifth and the last «Vista» offers a more playful and optimist interplay with the ironic electronics of Zuydervelt, emphasizing again the fascinating, open sonic vision of this ensemble.