Ninni Morgia - guitar (Trauma Unit, The Right Moves, Wizard Trio, White Tornado, ex-La Otracina)
Jordon Schranz - upright bass (THE eASTERN sEABOARD)
Others have included: Adam Kriney (Owl Sounds, La Otracina), Marie Evelyn (marievel knievel), Chris Welcome (Stoney Mountain, Chris Welcome Quartet), Daniel Carter (Sun Ra, Wizard Trio), Mike Pride (Dynamite Club, From Bacteria To Boys, Period), Luke Moldof (Catholic Skin, Craniopagus), Alex Lambert (Multitudes), Jade Larson (Trauma Unit, Wizard Trio), Ed Chang (Trauma Unit, Spin-17), Kevin Shea (Storm & Stress, Aji No Moto, The Right Moves, Coptic Light, Talibam!)
Influences
psych, noise, nature, Albert Ayler, Black Flag, Nausea, Sonny Sharrock, Smegma, Mars, Japanese Classical, AMM...
Sweet vinyl outing from yet another Adam Kriney project. Kriney's got more energy than ten bands combined, and his dedication to his vision is unbounded. Luckily, he never seems to repeat himself or run out of great new ideas. This time out it's a quartet, featuring the astounding Minni Morgia on guitar, Kriney on drums, Chris Welcome on cello, and upright bass from Jordon Schranz. Being more familiar with his rock/prog/psych outfit La Otracina and some of his jazz work, this is my first exposure to Quivers. The group achieves a superb level of cohesion here, reaching an elusive state of morphing collective sound in which particular instrumental contributions are subsumed into a much greater whole. Kriney is slightly more restrained than usual, yet manages to show off his chops in fine style. Welcome's cello playing is a joy here, working together with Morgia to take the string scrape to new levels of insanity. And Morgia - what to say? He's easily one of the most underrated noise/improv guitarists around, and he's an essential piece to the Quivers puzzle. Displaying shards of Sharrock, glimpses of Joe Morris, nods to Haino, and plenty of his own thing entirely, Morgia is the one to watch. And yet his playing never takes on an ego-driven role, instead working for the service of the group sound. This is a sprawling and beautiful record on almost all counts. There are moments where you'll think it's a much larger group, or that Welcome's cello is actually a flute (!). The range of ideas present here, the obvious joy in the playing, and the alechemical mystery of the groupthink is superb. This one takes plenty of ESP inspiration, the spacious innovation and ghostly dronescapes of a group like Graveyards, and marries them to rock and noise with total success. The only potential limitation is sonic - Schranz's bass is too low in much of the mix, and the overall impact of the sound is a bit lessened. That said limitation doesn't ruin the record is remarkable. It's just that what he does play seems excellent, and with a better mix, this would have been a total knockout. Still, don't let that stop you - if you dig free jazz, noise, and all the potential intersections between, find yourself a copy of this record immediately. There's a lot of awfully tired moves in the free jazz scene these days, and Quivers avoid them all with skill to spare, offering up a platter that's both inventive and highly compelling. And let's hope Kriney keeps this unit together - I can only imagine the levels to which they're capable of taking this. 9/10 -- Eric Hardiman (17 September, 2009)
++++REVIEW IN WIRE - 2012 (January 2009)++++
Jazz based improvisation has seeped into outsider rock for decades, but lately that combination seems to be resurging in the American underground. One leading light in this bubbling culture is New York label Tiger Asylum. Energetic releases from The Eastern Seabord, Trauma Unit and Violence Jazz have bolstered their growing catalgue, but the best Tiger Asylum outfit is Quivers. A quartet featuring one current and two ex-members of Brooklyn psych rock outfit La Otracina, Quivers can rip out a rock riff, but their rushing music is firmly planted in the realm of ecstatic free jazz.
The centre of Quivers' wide-open mix is the versatile guitar work of Ninni Morgia. Over the five untitled tracks on 2012, Morgia's sounds range from miniaturist pin-pricks to sheets of dense fuzz. He opens the second track with warped feedback that sounds nearly electronic, then drifts into a Hendrix-style wail over the crashing rolls of drummer Adam Kriney and sawing tones of cellist Chris Welcome. One track later, Morgia's slippery noise meshes precisely with Kriney's cavernous rumbles.
One might not expect such intricate interplay from an ensemble whose approach is more garage throw-down than studied introspection. Yet it's the small details in 2012 that make the strongest impression. This is clearest on the two long pieces that stretch across the album's second side. Simultaneously spacious and cacophonous, the tracks traverse a wide swathe of moods: buiding tension from carefully-bowed strings, chilly ambience from cymbal washes, frantic breathlessness from all the sonic elements peaking together organically. It's the kind of tonal range that's only achieved by familiar, thoughtful collaborators playing free of external restrictions. - Marc Masters
++++REVIEW IN WIRE - Once There Were Some (2007)++++
Brooklyn's labels Tigerasylum Records / Colour Sounds have co-released the debut by Quivers, a quartet including electric guitarist Ninni Morgia, upright bassist Jordon Schranz, vocalist Marie Evelyn and drummer Adam Kriney. On 'Once There Were Some', they seem to be using early Sonny and Linda Sharrock combos as a model. The guitar is promonent and dense, the bass and drums fill out the bottom with bustle, and the vocals attack the upper register with post tongue abandon. They do veer off into softer-focus sections fairly often, but keep a good level of intensity going most of the time. - Byron Coley
CONTACT US TO BUY:
"Once There Were Some" CDr $6
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"2012" LP
$15
++++REVIEW FROM WWW.KINDAMUZIK.NET++++
Nog meer explosiviteitsbewegingen van Colour Sounds’ Adam Kriney. Ditmaal in de vorm van nerveuze garagerock geïnterpreteerd door mislukte jazzheads. En dat is geen disrespect. Kriney, Ninni Morgia (gitaar), Jordon Schranz (staande bas) en Marie Evelyn (sporadische voalen) kruipen door de schaduw van Velvet Undergrounds meest minimalistische avantrockuitspattingen. Lou Reed meets Sonny Sharrock gitaarbespelingen en de ruwe garagefuck schaduw van Pussy Galore. Uitgebracht in een editie van 52 exemplaren. Opschieten dus!
LARMO with Charles Bukowski again! NEW TRACK!LARMO with Charles Bukowski again! NEW TRACK!LARMO with Charles Bukowski again! NEW TRACK!LARMO with Charles Bukowski again! NEW TRACK!LARMO with Charles Bukowski again! NEW TRACK!
Check out new track :
LARMO & Klaus Kinski - Ecce Homo Check out new track :
LARMO & Klaus Kinski - Ecce Homo Check out new track :
LARMO & Klaus Kinski - Ecce Homo
LARMO with Charles Bukowski
NEW TRACK!!!
CHECK THIS OUT!!!LARMO with Charles Bukowski
NEW TRACK!!!
CHECK THIS OUT!!!LARMO with Charles Bukowski
NEW TRACK!!!
CHECK THIS OUT!!!
