(Avant-Garde Jazz / Experimental) [CD] James Plotkin & Paal Nilssen-Love - Death Rattle - 2013 [Rune Grammofon RCD 2148], FLAC (tracks+.cue), lossless

Philadelphia noise guitarist Plotkin and Norwegian free jazz drummer Nilssen-Love crack heads in a championship bout of heavyweight grappling, throwing themselves into a swirling vortex of mutant noise on opening track "The Skin, The Colour" before achieving a mournful stuttering truce on elegiac album closer "Death Rattle". 4/5.
~ Mojo (UK)
Metal guitarist James Plotkin and The Thing’s drummer Paal Nilssen-Love recorded Death Rattle in the States last year in no time at all, just a four-hour session did the trick, and there’s an impulsive and immediate quality to the set that isn’t really surprising given the circumstances. Yet the extraordinary, knock-’em-out quality of Nilssen-Love’s Rashied Ali-meets-Keith Moon method is well captured. While Plotkin, a highly combustible presence as it turns out, is clearly no slouch in the energy department either, he is quite often simply overpowered rhythmically here although he does come to the boil messily on the third track. Longueurs aside when the players circle each other to no obvious result say on 'Primateria' Death Rattle more than rises to the challenge of the confrontation.
~ Marlbank (UK)
James Plotkin has primarily made his name with loud, arty metal, and drummer Paal Nilssen-Love frequently backs obstreperous saxophonists like Peter Brötzmann, Mats Gustafsson and Ken Vandermark. So it would be reasonable to anticipate a disc of high volume, big swinging dick duels. Right? There´s actually relatively little of that to be found on "Death Rattle", despite track titles which suggest second coming of Last Exit. The album has a few downtuned, doomy moments, but much of it finds Plotkin zapping through an array of effects, making math noises that, when laid over Nilssen-Love´s surprisingly steady beats, sometimes remind you of Battles. But on the album´s closing title piece, they head into a more atmospheric space, Plotkin letting off short, slightly variegated bursts of skronk and stun gun squeals as Nilssen-Love interjects short barrages.
~ The Wire (UK)
James Plotkin unngår klisjeer og fraser fra i går og fremstår som en gitarist for vår tid. Han etterstreber ett nytt språk og klarer langt på vei å realisere det. Først og fremst er uttrykket hans gjenkjennelig som gitarspill i tradisjonell forstand. Det er ingen selvfølge blant avantgardister. Nåt det er sagt, kan det raskt tilføyes at Plotkins blanding av overstyrte effekter, metalliske tilbøyeligheter og massive riff gir et utradisjonelt sound... Nilssen-Love underbygger det kraftfulle siget i duoens musikk og hakker den opp. Intensiteten og presisjonen har egenverdi, men trommespillet skaper først og fremst stadig nye rom i Plotkins solide bygg. Møtet mellom James Plotkin og Paal Nilssen-Love formidler en sult som er sjelden hos så erfarne musikere. Duoen trekker en linje fra Jimi Hendrix´ eksperimentelle område, via Sonny Sharrock og Stephen O´Malleys mørke felt, til en hvit flekk med plass til fin egenart. 5/6.
~ Aftenposten (NO)
In den frühen 1990er, als auf den Earache-Label in Nottingham neue Extreme der Klang- gestaltung ausprobiert wurden, von Carcass, Entombed, Godflesh, Morbid Angel, Napalm Death und nicht zuletzt Pain Killer mit ihrer ultimativen Fusion von Jazz- & Grindcore, war James Plotkin mit O.L.D. mit dabei. In Khanate und Lotus Eaters mit Stephen O'Malley und in Jodis zusammen mit Aaron Turner (von Isis und Mamiffer) setzte er seither seine gitar- ristische Wühlarbeit fort, die nun in Death Rattle (RCD 2148) sich selbst mit einer beson- deren Herausforderung belohnt. Sein Partner ist nämlich PAAL NILSSEN-LOVE, ein geis- tesverwandter Rassler und Wühler, der Plotkin erstmals durch eine Scorch-Trio-Scheibe zu Ohren gekommen war, die ihm O'Malley auf einer Khanate-Tour vorgespielt hatte. 2011 war er dann schon Mixmaster für Hurgu!, PNLs Trommelclash mit der Gitarre von Terry Ex. Nun zieht er selber die gitarristischen Register, bei 'The Skin, The Colour' anfangs in Handarbeit, und dennoch unter der wohltönend gerifften Oberfläche schon mit Kipp- figuren aus knurrigen und orgelähnlich pfeifenden und trillernden Sounds. Beim krabbe- ligen, von PNL perkussiv aufgemischten 'Primateria' dann längst mit Loops und eskalie- renden Distortions. Und beim anfangs besonders urig angerauten 'Cock Circus' sogar mit digital forciertem Schrapnelldauerfeuer, das aber PNL nur recht zu kommen scheint, um daran seine Reaktionsschnelligkeit als Powersquasher oder Infinite Jest-scher Tennis- crack zu demonstrieren. Plotkin ist nun selbst mit jenem Gepolter und Geknatter konfron- tiert, das er beim ersten Hören für das Werk von zwei Drummern gehalten hatte. Dass es den beiden dennoch nicht im geringsten um Rekorde an Power oder Tempo geht, zeigt nach mehrfach schon souverän gegroovtem Tamtam oder auch mal chinesischem Ge- gonge das abschließende Titelstück besonders deutlich, das um entschleunigte Repeti- tionen noisige Verzierungungen funkeln lässt. So sound- und formbewusst klingt Free Rock nur bei den richtig Guten.
~ Bad Alchemy (DE)

X Lossless Decoder version 20130720 (144.0)
XLD extraction logfile from 2013-10-26 00:35:42 +0400
James Plotkin, Paal Nilssen-Love / Death Rattle
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TITLE "Death Rattle"
PERFORMER "James Plotkin, Paal Nilssen-Love"
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