raw kites
i can see the light, i just can't feel it


Raw Kites: 'Dearce' from I Can See The Light, I Just Can't Feel It by bugincision


Here we have Shane Krause playing baritone saxophone and bass clarinet with Chris Dadge on percussion, violin and an assortment of amplified objects. For most of the album, the playing is really pulled back, feeling like it is constantly on the brink of explosion. The tension is immense and no more palpable than in the first half of track one, entitled “Dearce,” which features a softly tooted sax and percussion. The restraint kills! It’s honestly not until about five minutes in that the tension breaks. It must be the deep bass drone of the clarinet and sax and the sparseness of the drums that creates this pervading mood of a happening on the very brink.

Not until “Traice” (track 7) does the tension start to really give way to a predominately free-jazz finish. Instead of Krause using long drawn out tones as he has for the rest of the album, he uses a dynamic range of notes played quickly, without too much repetition. It keeps Dadge on his toes for sure. He attains near tonality with his speedy drumming – when needed – but picks up on every jig and jag thrown at him by Krause, and vice versa. I couldn’t think of a better title for this half an hour long piece than I Can See The Light, I Just Can’t Feel It. You definitely get that sense that there is something there, something you want so badly and something that never quite becomes real.

Kat Dornian


Here's another disc from Chris Dadge's Bug Incision label, and this time around it's Chris in a duet with baritone saxophone/bass clarinetist Shane Krause. With Dadge on percussion, violin and amplified objects, the sound treads toward the starker side usually, never straying too far from what seems to be more or less the signature Bug Incision sound. Sort of a meeting between AACM and AMM I guess...

Broken into eight tracks, the disc actually reads like a series of demos in a lot of ways, showcasing one outtake from a given session before moving on to the next. Which isn't to say that there's not room for the two to expand here; many of the tracks are over five minutes long. Just that the duo play with such conviction that they are able to sustain a given locale long enough to fill those five minutes without losing their grasp. 

Take the opening "Dearce," whose clattering percussion and restrained baritone play--sometimes honking, sometimes shimmying across Dadge's violin strums--fill the 7-minutes easily before the following "Dierce" (I suppose another spelling of the same pronunciation of the first track, a theme which runs throughout) gets a tad heavier, Krause's sax now billowing runs of notes behind pitter-pattering kitchen sink percussion. The sound is certainly mobile, but also refreshingly unpretentious or precious. Instead the play is filled with excitement, reading as fun alongside its clearly well conceived and realized ideas. Same goes for "Deirce," (there's that title thing again) which falls into an extremely hushed, albeit active, sonic realm. Nothing here stands out so much despite quite a lot of activity, Krause's horn squeaking above grating violin runs that all sound like they're being played from beneath some giant weighted blanket. Strange and super effective.

Following that up is "Pearse," "Pearce" and, you guessed it, "Peirce." The first keeps things fairly subdued, slipping into some odd metallic grunts before the second begins quietly before unwrapping itself a tad. Krause's bass clarinet play on the last track is warm though removed, a strange and effective space for the instrument to reside in atop the ruffled percussion of Dadge. "Traice" and "Traese" close the disc with some of the more cohesive material here, really displaying the duo's chops at something resembling straight free jazz, though certainly a bare and explorative example of that genre. Super great, alongside everything else I've heard from the label so far. Limited to 75 too, so grab it quick.

Henry Smith