COMET B is Matt Chamberlain’s new solo project. It features Chris Combs (Jacob Fred Jazz Odyssey) on Lapsteel, Mike Dillon (Primus,Critters Buggin) on Mallets and Tabla, Kaveh Rastegar (Kneebody) on Bass and Guitars, Dave Palmer on Keyboards, Dan Phelps on guitars, Malay Ho, Guitars and Bass. You can buy at Bandcamp or on iTunes
Company 23 is Matt Chamberlain’s 2nd solo record. The Guest musicians are Bill Rieflin (Ministry,Swans, REM) Synths , Bill Horist (Guitar), and Kaveh Rastegar (Bass).
180 gram Clear Vinyl in a beautiful package designed by Faith Colloccia. Limited to 1000 pieces along with a Digital Download which includes one bonus track!It is also available on iTunes and HERE at my artist store
Prompted to creation, in a way, by the legendary session drummer Hal Blaine’s under-appreciated record Psychedelic Percussion, Matt Chamberlain’s debut solo record conjures up the forgotten possibilities of the good old “drummer and studio” paradigm. The record ends up functioning like a semi-sordid dream intertwined with ’70s movie memories (think Telly Savalas and Enter the Dragon.) It’s easy to picture zombie karate fights taking place in lush overflowing gardens, and out-of-place Italian furniture being cracked over heads. You almost hear the appropriately thrown-together orchestra being directed by a genetically altered Georgio Moroder right there on the set… and that creeps you out during the few genuinely romantic sex scenes. Kind of like Goldfrapp, Chamberlain has ignored the rules of passe and boldly crafted a sleek and palpable form of post-trendy, modern exotica. Utilizing the all-pro string arrangement skills of Eyvind Kang, percussion instruments from far off places and planets, archaic electronics, analog sythesizers, outer space spaghetti western guitar, and sonically mutilated drum-kits of every size and make, Chamberlain’s debut album is a full-bodied record that will sit proudly next to Lalo Shiffrin, Autechre, Martin Denny, Amon Tobin, David Axelrod, Hal Blaine and Critters Buggin records. You can buy it HERE at my artist store or on iTunes
Out in the high desert of Santa Fe, New Mexico, some 7,500 feet above sea level in the foothills of the majestic Sangre de Christo Mountains, strange and wonderful things were bubbling up when keyboardist Brian Haas and drummer Matt Chamberlain met in the magical adobe style Frogville Studios for three days of unadulterated improvisation. Unlike their previous collaboration, 2013’s Frames, which was meticulously through-composed by Haas and performed with exacting precision by the duo, their second recording together, Prometheus Risen, is a free-flowing, no-holds-barred, in-the-moment encounter based on daredevil instincts, a shared arranger’s aesthetic and mutual trust. While all the keyboard parts, Moog bass lines, ambient washes, textures, loops and groove playing on the kit might suggest a precisely-crafted project involving multiple layers of overdubbing and tons of post-production work, the entire album was in fact done live in the studio.
Chamberlain, a revered drummer who has appeared on recordings with Brad Mehldau, Bill Frisell, Tori Amos, Fiona Apple, Morrissey, Mike Gordon, Of Montreal, Marco Benevento, David Bowie and Herbie Hancock, among countless others, fully embraced the idea of exploring freely in the studio with Haas who, in addition to his solo work, tours with Jacob Fred Jazz Odyssey and Nolatet.
Together on Prometheus Risen, Chamberlain and Haas present spontaneous composition at its finest. Chamberlain underscores pieces like “Space Colonization,” “Orange Purple Sunshine” and “African Crowley” with his signature huge groove, while also providing a rainbow of colors throughout by thinking orchestrally from behind the kit with his sampling and looping skills. Haas’ melodious, fuzz inflected electric keyboard motifs (tweaked with Space Echo), alternately cascading and minimalist piano flourishes and deep dub bass-lines drives numbers like “Less Munitions,” “More Mentations” and “Cosmic Vision.” “Ancestral Availability” has Haas on piano and Moog bass going toe-to-toe with Chamberlain’s controlled bashing in a manner that might recall Cecil Taylor’s historic duet encounters with Max Roach. That adventurous, suite-like “Holding Deckard’s Hand” melds cascading piano against an eerie ambient backdrop and throbbing backbeats, while “Intelligence Intensification” opens like a revved-up rocker and closes like a kinetic outtake from Philip Glass’ Einstein on the Beach. Buy Here or on iTunes
THE SLOW MUSIC PROJECT
what is slow music?
there is a quick and less quick answer to the question: “what is slow music?”
the quick answer is that slow music is an opportunity for six pretty good and very experienced musicians to improvise and have fun playing together while experimenting within a particular context.–Bill Rieflin
You can buy live recordings of The Slow Music Project at Robert Fripp’s DGMlive website HERE
Critters Buggin is a Seattle based improvisational group..The band is composed of Matt Chamberlain (drums, percussion, piano, programming, synths, loops, samples and digital editing), Skerik (saxophones, keyboards, loops, samples, effects and guitar), Brad Houser (bass, baritone saxophone, bass clarinet and electronics) and Mike Dillon (vibraphone and percussion).
Critters Buggin defies categorization because of their diverse musical styles.You can buy all Critters related goodies HERE or on iTunes
THRUSTER! Tim Young, Kaveh Rastegar, Matt Chamberlain
Founded at Aleph studio in 2003 as THRUSTER! has played live 7 times. Sean Westergaard of Allmusic.com had this to say about the first ep: Tim Young is one of the most creative guitarists out there. Best known for his work with Wayne Horvitz and Zony Mash, he’s been creating a very original style with his mastery of tone and effects and the near-complete absence of clichéd guitar licks. Thruster is his power trio project with bass player Kaveh Rastegar and ubiquitous Seattle drummer Matt Chamberlain. The band covers a lot of musical territory, from the Monk meets hard rock of “Green Heat” to the ominous spy-surf sounds of “The Tick” to the beautiful “Echoes of Peg.” Young’s playing is never less than interesting, and at times is simply amazing (check “Afterburner”). Guitar fans will surely be impressed, but this is an album worth checking out for anyone interested in good instrumental rock.