Every Meanest Particular is always moving. In each of the three pieces, Alexander Adams’ percussion provides the rusty, rickety wheels that haphazardly propel the chaos forward. He’s soon joined, if not already, by the rest of the lively instrumentation, which includes saxophone, flute, upright bass, electric guitar, and piano, each slowly adding squeals, noodles, and malformed melodies. The pieces are also heavily influenced by the instrument member Cory Lyons chooses to play. In the session that yielded “Bootleg Gourmet,” he plays piano, conjuring an active but reserved chunk of whimsical cacophony; while “Ghggghgghrog (Jumper Hound),” recorded on the night of the U.S. midterm elections last year, bursts into fiery clouds of noise right from the get-go, led by Lyons’ distorted fretboard attacks. There’s a lot of chemistry between these four musicians, palpable in the ways they sort of direct where they each want things to go; for example, to lead into the rollicking climax of “Care Bears Countdown,” the drums tumble into perceptible unison hits that increase the intensity tenfold. On Every Meanest Particular, the young ensemble finds footing somewhere between the arcane timbres of freely improvised music and the passionate decay of free jazz, making some truly joyous noise in the process.
Noise Not Music 