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Only briefly acquainted, McDonas and Mazurek show remarkable responsiveness to each other in these complex improvisations. The nineteen minute opener "Shouts" begins in a haze of electric piano and synth before Mazurek slips into a disembodied wordless chant adding to the otherworldliness of the piece. About fourteen minutes in, the cornet becomes identifiable, the piano's notes clear, but the playing still open and free. "Hollers"—at almost twenty-one minutes—initially features bells, buzzing and discordant brass. More frenzied than the opener, it settles down a bit at the midpoint, but it's a relative
comparison. Here, Mazurek's cornet takes on a haunting voice in the eerie setting of percussive effects and electronics. "Howls" gives the early impression of being more structured, the electric piano sounding like a thrashing metal guitar but a din of percussion resets the piece and it runs its course as a bustling, electric experiment.
Blind Curves and Box Canyons is as engrossing as it is challenging. The first forty minutes has an organic feel, that being no small accomplishment if the face of so many synthetic sounds. In particular, Mazurek's placement of vocals and cornet is mesmerizing and draws the ears in. As his star rises in the visual arts field, it seems to supply Mazurek with new inspirations that he successfully translates to music.
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supported by 4 fans who also own “Blind Curves And Box Canyons”
this was the beginning of my deerhoof journey, i found this immediately after being recommended future teenage cave artists and being blown away by it. i have fallen in love with your guy’s discography and this is a phenomenal live showing from not only you but wadada leo as well isaiahisel