Loop 2.4.3

Time Out New York Wednesday's must-see shows:
Crafty percussion ensemble Loop 2.4.3 continues its residency at the Tank, where it has been engaged in all manner of multimedia collaborations, with an evening featuring Afro-Cuban drum experts Dafnis Prieto and John Amira.
- Time Out New York

Drummer Kozumplik rattled the rafters the last time he came through town with the Clogs, but gets into something more mesmerizing with classically trained percussion duo Loop 2.4.3. More freewheeling than academic, the group mingles taut compositions with a stunning improvisational sense, weaving pulsing counterpoints on Reichian marimbas and clattering chimes. - Time Out - Chicago

http://www.npr.org/templates/story/story.php?storyId=15591120

Fresh Air from WHYY, October 24, 2007 · About the only constant in the last 50 years of popular music is that it's become more and more aggressive with rhythms. And yet I find I have problems with most percussion albums. I wouldn't hesitate a moment to tell anyone to go see a dramatic, inspirational live performance by the Kodo drummers of Japan. Yet even a DVD diminishes the power of their music — and the recordings are even more beside the point.

Percussionists are aware that it's hard to make an all-rhythm album interesting. A common solution is to add embellishments — other instruments, voices — while keeping the beats central. Another is to draw on established, familiar world-rhythm traditions. That's what Grateful Dead drummer Mickey Hart and Indian tabla master Zakir Hussain do on their new Global Drum Project.

A much tougher approach is to reinvent percussion from the bones out, so that drums and other beat-makers surprise you, throw you off base and draw you into a vortex of pulses. This is what the oddly named duo Loop 2.4.3 does on its debut release, Batterie.

Hart and Hussain's fusion project is smart, honorable and admirable — maybe more admirable than purely pleasurable — though they certainly do work up some mysterious mojo at times. I kept wondering, though: Why does Global Drum Project work best percolating away in the background? When I focused in, track by track, the underlying concept of world rhythms being universal and unifying seemed strained, even false. One African tune, one Indian tune, a Latin track and a couple of mild fusions do not add up to an identity.

Hart and Hussain have worked together a very long time, releasing their first collaboration as the Diga Rhythm Band back in 1976. Global Drum Project isn't as fresh — or as much fun. Diga is considered groundbreaking for a reason. Start there.

Loop 2.4.3 is Thomas Kozumplik and Lorne Watson, and while the two have worked together as a unit only since 2001, they have an extensive background with numerous ensembles, notably Kozumplik's quartet, Clogs. But what jumped out at me is that Loop 2.4.3 is in residence this fall at the Harry Partch Institute. Partch was an outsider classical composer who invented his own instruments, most of them exotic percussion tools. He also wrote incidental music for plays.

Not coincidentally, Kozumplik has worked for film and theater. And that's as close as I can come to describing Loop 2.4.3's style — if Partch had been warmer, more linear and had a better sense of dramatic narrative, he might have made music like this.

Loop 2.4.3's Batterie works best as foreground music, following the beat stories as they develop. Just when you think you know what's coming, a wash of glockenspiel or gongs throws you off. Most impressive, Kozumplik and Watson never sound arbitrary or like makers of novelty music. There are action adventures and reveries on Batterie, and it all sounds like part of a well-thought-out tradition. Only the tradition has never existed until now.

- NPR; Fresh Air; Milo Miles

http://www.new-noise.net/album-reviews/loop-243/batterie/loop-243---batterie_3418.html

New Singles Live Features
Loop 2.4.3 - Batterie
by Pete Flynn


"Normally, casually throwing words like 'improv' and ‘chamber music' into a review might be a cause for concern - horror even - yet ‘Batterie’ is an unqualified treat from start to finish, with plenty here to love"

Loop 2.4.3 were a one-time chamber music duo, originally from Conneticut, until members Thomas Kozumplik and Lorne Watson branched out into something much wider (wilder?) and varied after putting together their own studio a couple of years ago.

Having performed with artists such as The Books, Sufjan Stevens, and an array of others far beyond the ends of NN's most obscure tastes, 'Batterie' marks the culmination of their work so far: six pieces for percussion, concocted themselves and originally performed for an hour-long radio show in Seattle, that they liked so much they decided to release the set it in its own right as their debut LP.

And what you get is a really focussed and thrilling percussive ride that has your attention in the palm of its hand for every second of it. Normally, casually throwing words like 'improv' and ‘chamber music' into a review might be a cause for concern - horror even. Yet ‘Batterie’ is an unqualified treat from start to finish, with plenty here to love for fans of The Boredoms and Liars (maybe Lightning Bolt or Battles as well), perhaps even a tiny something in kin with the stranger ends of the Rephlex catalogue like Victor Gama too.

And anyway, appropriate as they may be, such terms mislead too. Lacking in the cold austerity and joyless self-indulgence you might associate with those words, the six pieces here are largely formed of alternately sparse and building-up percussion that reacts off itself in startling, kinetic and entrancing ways, occasionally fleshed out with entrancing tingles of bells and speech samples.

Opener 'Son Of Odin' sets it all up nicely, its 12-odd minutes in no hurry to unfold and all for the better, coiling increasingly tighter ‘til it tears open into this incredible restless drum attack that pings your attention about wildly. ‘Almglocken Melodien’ follows, the steel drums that loop and filter through over its xylophone tune sounding like they're from outer space, while ‘Chickchi’ blooms out of nowhere with further alert and sudden rhythms.

‘DBC’ meanwhile houses several of ‘Batterie’s best moments, beginning with such an urgent shuffle that the track positively shakes with life, flitting through clattering metallic pulse-beats and building to almost funky heights near its end.

Housing an improvisational liberty that’s more refreshing than you ever expected, it’s all so subtly alive with spontaneity – you almost have to check whether the sudden whoops that interject as Loop 2.4.3 start really letting rip during ‘DBC’ came from the CD or from yourself. Something quite enrapturing and truly alive indeed.
- New- Noise.NET

".... a hard-driving set by the percussion duo Loop 2.4.3. "

Link to full article: http://www.newyorker.com/online/blogs/tny/2009/06/make-music-new-york.html - The New Yorker : Alex Ross

"...intricate, energetic performances."

Link to full article: http://www.nytimes.com/2009/06/23/arts/music/23make.html?_r=4&_... - The New York Times: Allan Kozinn

http://www.LMNOP.com/2009-May-LMNOP-Reviews.html#anchor61103

Loop 2.4.3 - Zodiac Dust (CD, Music Starts From Silence, Progressive/experimental)
Interesting. Very, very, very interesting. So many albums can be summed up in a few words and the music quickly digested in half a dozen spins. As of the writing of this review, we managed to spin this album twenty times or more...and we still can't quite find the words to describe it. The folks in Loop 2.4.3 write and record experimental music with a difference...and obtuse percussion played an integral part in its creation. The tracks on this album are peculiar and odd but unlike the crap generated by your average twenty-first century electronic artist...they are by no means unlistenable. Actually and in fact, quite the opposite is true. The way these folks craft and create their music, their really odd compositions have strange, warm qualities that make you want to hear them over and over again. There are no words...no catchy melodies...and none of the gimmicky goofy sounds one normally associates with experimental music. This band is the duo consisting of Thomas Kozumplik and Lorne Watson. These two guys are doing everything right. This is, without a doubt, one of the most interesting progressive/experimental releases we have heard this year. Incredible stuff that sounds even more incredible if you turn it up really, really loud... Highly recommended. (Rating: 5+++)
- LMNOP.com

New York instrumental percussion duo Thomas Kozumplik and Lorne Watson combine multiple elements of neo-classical, jazz, rock, and ethnic/world music.

Published on June 22, 2009

Loop 2.4.3. - Zodiac Dust - Music Starts From Silence/Analog Arts (no number), 43:00 ****:
(Thomas Kozumplik & Lorne Watson: various instruments, including steel pan percussion, drums, African drum, Native American flute, marimba, tom-toms, temple bowls, gong, cowbell, wood blocks, temple blocks, sleigh bell; Michelle Lee - violin)

Brooklyn, New York instrumental percussion duo Thomas Kozumplik and Lorne Watson, who go by the name of Loop 2.4.3., combine multiple elements of neo-classical, jazz, rock, and ethnic/world music. Loop 2.4.3. employs the gamut of percussion instruments, from marimba and steel drum to tom-toms, from African drums to temple bowls, and snare drums, wood blocks, opera gongs, plus electronics, violin, piano, and some unique instruments created specifically for the group.

Zodiac Dust is the partners' sophomore effort but marks the first time Kozumplik and Watson have entered the studio: their 2007 debut, Batterie, was a live undertaking edited from a radio broadcast. Because the pair had the ability to spend some quality time on their creative and experimental material, Zodiac Dust has an incisive, more extended compositional structure, showcasing the artists' wide-ranging backgrounds, experience, and synthesis of different genres.

Kozumplik and Watson's knowledge base and previous achievements are integral. Kozumplik has performed as a solo artist, in orchestras, jazz combos, rock bands, and is currently also a member of avant-garde chamber ensemble The Clogs. Watson also has an extensive percussion expertise as composer, player, and instructor in classical, jazz, rock and multi-genre projects. This means the twosome craft compelling music that is not readily categorized, is never pretentiously inaccessible, and sustains a sympathetic and approachable mannerism.

After a short commencement prelude, "Prologue: Rebirth," the album opens up with "Dark Matter," a cosmic saga that mixes heavy and light percussion with open-minded effects and electronics. It is here the hand-made eLog is introduced, which Michael Wygmans custom built for Loop 2.4.3., which is essentially a log drum that offers a broader sonic canvas. To get crucial auditory agitation, the eLog is run through a Fender amp and a vocal effects unit, thus fashioning a synthesized, distorted characteristic. "Dark Matter" persuasively demonstrates that rhythm instruments can direct melodic lines, execute choruses, and engage listeners' imagination.

At the opposite extreme is the discordant and contorted "Clouds," where Loop 2.4.3. put acoustic drums through an effects unit and a Fender amp, add loops, and generate fulminating, machinelike sounds from acoustic instruments.

"Underground" is fronted by steel pan percussion, piano and vibes, which gives the pop-inclined piece a Caribbean flavoring. There is a sense of playful post-minimalism permeating "Underground," a fusing of mainstream perceptiveness and a post-modern philosophy that is in keeping with the group's accessible sensibility. If someone has never hummed to a percussion piece, "Underground" could prove to be the exception.

The epic construction "The Existentialist" also applies the eLog, but the outcome is cleaner, since it is amplified but not coupled with any effects. The moody tone is supported by wood blocks, shakers, marimba, cymbals, and toms, and has a textured tribal inclination, like a closely controlled drum circle, which perceptibly cascades to an up-tempo propulsion.

The title track has a contemporary classical design akin to The Clogs or The Bang on a Can All-Stars. Michelle Lee's violin furnishes a chamber tonality, while steel pan percussion provides an ethnic/world music contrast. "Zodiac Dust" is anything but dazed or drugged; the stimulating melody that washes through the cut has a warm affection that makes "Zodiac Dust" something that can be listened to over and over.

Kozumplik and Watson end the program with a sequel segment that alludes to their first release. "The Return of Chickchi" echoes and updates "Chickchi," which was a stand-out track on Batterie, and uses that song's multi-tiered fusion feel and modal music approach. The pummeling but precise passages incorporate bongos and hand shakers with stout percussion, layering a laminated beat that has a pulsating charisma. The duo bring the project's narrative to a satisfying conclusion with "Epilogue: Ashes to Ashes," which adapts encircling, ominous voices, effects-loaded strings and expansive electronics that emulate Brian Eno's ambient exercises.

-- Doug Simpson

http://www.audaud.com/article.php?ArticleID=6007
- Audiophile Audition

A few weeks ago I went to see my boyhood idols, Dinosaur Jr. perform in a small club. I positioned myself directly in front of J and his eight amps, and as I made my exit the buzz was furious in my head. Turning on the car more rock blared, and it was just too much to handle. I rummaged through the stack of cds on the passengers seat and pulled out a cd that I had just received called Zodiac Dust and put it in hoping to sooth the buzz. I was instantly transported away from the crushing sonic waves to a tropical oasis in the middle of the vast arms of space.

Loop 2.4.3 is the work of Thomas Kozumplik and Lorne Watson, and employ a gamut of percussion instruments, from marimba and steel drum to tom-toms, bongos and snare drums, temple bowls and wood blocks, opera gongs and electronics. They even invented a couple instruments for this album. The result is a stunning adventure in percussion and sound.

Zodiac Dust will be released on June 16th, but recently Thomas and Lorne were kind enough to answer a few of my questions.

Orange Alert (OA): Your latest album, Zodiac Dust, will be released in June. What can you tell us about Zodiac Dust?
Thomas Kozumplik (TK): The first time I tried Zodiac Dust was at a party in Brooklyn. I went home elevated and totally wired and wrote music all night...ha! Actually, we were working on several pieces of music over the last year that started to have some sort of cosmic theme, from earthy Chinese Zodiac imagery to actual zodiacal dust - particle matter in deep space. These cosmic titles kept coming up and seemed to fit. There is some music with an ancient, primal, grounded feeling of drums and tuned gongs and then pieces with electro-acoustic instruments that sound like they are from another planet. There are also moments of reflection that delve into the inner, philosophical/spiritual side of what this imagery might suggest. Essentially all of the music stands on its own, but we liked the idea of taking these pieces and weaving them into a full album narrative that really takes you on a journey. Hopefully people walk away feeling like they've really experienced something.

OA: Your live performance is so impressive. Do you feel that the listener may be missing something when listening to a recording? In what ways do you try to capture the live performance in the recording studio?
TK: The basic tracks for most of the album are just us playing together in the same room. I think the energy and sounds are well translated, the sonic imaging is fantastic (thanks Joel!) but still, you're right, when you're in the room and you experience that vibe and all of the sounds mixing together...it's something you can't beat which is why people should always go out and hear live music. That said, we were able to do things on the record that we don't always get to do live. Our first record was strictly a live performance, one take. On this record, we opened it up a bit. Lorne and I each heard some new sounds that we wanted to add on pieces that we usually play as a duo. So those added layers and particularly the use of violin, cello, and piano, are things that are special about the album and make that a completely different and equally worthwhile experience.

OA: Is there any electronic manipulation on the recording is it only live percussion? What are some of the more interesting percussion instruments/tools that you play?
Lorne Watson (LW): We created two new instruments for this record. Both are electro-acoustic. The eLog created by Micheal Wygmans, was custom built for us, as we struggled to have a log drum that filled our needs. I take the eLog and run it through a Fender Twin. We use not only the clean sound on the Fender for "Existentialist" but also run it through a vocal effects unit, for "Dark Matter". The Rose Echo was designed by Thom. It is an acoustic wood instrument, that runs through a guitar effects unit on "Dark Matter". For "Clouds" we run acoustic drums through an effects unit and the Fender Twin, run loops and create electronic sounds from acoustic instruments. "Epilogue" also uses effects, but this time on the violin tracks.

TK: I was able to have a lot of fun with a violin and some analog effects that were basically 'performed' live in the studio. (I did the effects, Michelle Lee played the violin). All of these pieces are things we re-create live. It's a pretty lo-tech set-up that just gets new and interesting sounds. Again, we were able to experiment with these sounds a lot more in the studio than we usually get to live, so the recording is a unique version of those songs.

OA: This is your second album Music Starts From Silence, what has your experience been like with them?
LW: MSFS is a great label. They are very supportive, and have a great staff. They help us out with everything, from getting our gear together to helping promote our shows and music, at all times.

TK: Thanks Lorne...what he means is that we do a bunch of the work ourselves! (I founded the label), but that we have a couple of wonderful and talented people who really help out. I'm being able to remove myself more from the mix which is great.

OA: Where does the name come from? Is that a specific type of drum loop?
LW: The name refers to a group, (loop) of friends and a room where we all used to create great music. It was when we were involved with The Robert Hohner Percussion Ensemble in Michigan. It was a great time, and we are still close to all the past members. It is a great support group, and filled with great musicians.

OA: What's next for Loop 2.4.3.?
TK: Right now it's just touring to support the record. We may be starting a little performance series at our studio in Bed-Stuy, which would welcome other artists into the space for creative development and small showcase performances. Drop us a line when you're coming to Brooklyn!
http://orangealert.net/zodiacloop - Orange Alert

Loop 2.4.3, a fascinating percussion ensemble led by Thomas Kozumplik (of post-rock chamber ensemble Clogs), plays richly detailed, hypnotic original music that will surely appeal to admirers of So Percussion, Bell Orchestre and the like. The group collaborates tonight with dancer-choreographer Teresa Smith and poet-visual artist Tom Burnett.

Read more: http://newyork.timeout.com/events/music/314136/4243879/loop-243
- Time Out New York

Loop: 2.4.3 Zodiac Dust (Music Starts from Silence, musicstartsfromsilence.com). Loop 2.4.3 is a two-man percussion ensemble, and considering the inherent limitations of such a configuration, their sound has remarkable rhythmic breadth and tonal depth. The diversity of timbres and tones — drawn from drums, mallet percussion and a truckload of other strikeable objects — paints a wide-open sonic landscape. Rhythms evolve smoothly from passage to passage — steady and pensive, abstract and oddly-metered, grooving with a swagger and so on — and their sense of melody is equally inviting. The real revelation is how emotive and evocative Loop 2.4.3's playing is. The two of them, with only occasional guests, suggest worlds of feeling, almost entirely with percussion instruments.

—Brian LaRue
© 2009 New Haven Advocate

online at http://newhavenadvocate.com/article_print.cfm?aid=15149 - New Haven Advocate