(Avant-Garde Jazz, Free Improvisation, Electroacoustic) [WEB] Thymolphthalein (Anthony Pateras, Will Guthrie, Jerome Noetinger, Clayton Thomas, Natasha Anderson) - Mad Among The Mad - 2015, FLAC (tracks), lossless

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auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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Processing file: [01. Awareness Of Time Is An Assault On Time (Ljubljana).wav]
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Processing file: [02. You Cannot Escape The 20th Century.wav]
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Processing file: [03. Supreme Nothingness.wav]
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Processing file: [04. Mad Among The Mad.wav]
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Processing file: [05. It Doesn't Kill You It Stops You From Living.wav]
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Processing file: [06. Awareness Of Time Is An Assault On Time (Prague).wav]
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A Franco-Australian quintet active 2009-2013, Thymolphthalein worked in the field of live instrumental electro-acoustic music. Employing organizational frameworks stemming from open-from 20th/21st century composition, rhythmically-geared outsider electronics and systematized improvisational strategies, this is the music of the possible.
Mad Among The Mad is the definitive document of six incredible electro-acoustic instrumental works performed by Thymolphthalein, following up their 2011 cult Editions Mego debut Ni Maître, Ni Marteau. Featuring compositions and improvisations written collaboratively by the group, this disc has been meticulously recorded over 4 European cities, capturing the band at their peak. - Immediata Records
Thymolphthalein is an acid-bass indicator. In other words, it will change the color of clear liquids with a high pH to blue. That's a pretty fancy name for something so boring (to me). However, Thymolphthalein is also a super-group quintet of Natasha Anderson (computer, contrabass recorder — something resembling a small totem pole), Will Guthrie (percussion), Jйrфme Noetinger (electronics), Anthony Pateras (piano, Wurlitzer, modular synthesizer) and Clayton Thomas (contrabass). What they change is the color of existing genres into something wholly theirs.
Formed in 2009 when asked to "synthesize our improvisational idiosyncrasies into a compositional framework" (essentially riffing through Ligeti's Atmospheres and the Penderecki/Don Cherry piece Aktions), the group offers an amalgam of electroacoustics, rhythm-heavy free jazz, concrйte and massive, multi-strata environments.
They bring so many flavors to the table that it's hard to pick out what's live and what's fed through / sputtering out of machines. The nineteen-minute long "You Cannot Escape The 20th Century" broods in a low frequency, rolling wash of Gamelan, cymbals, resonant thumps, electrical misfires and squealing sound design. Near the half-way point, dive-bombing feedback intersects the loop, and the piece folds in on itself: staccato acoustic gestures strike, and then happen in reverse or some other mangled state; Pateras's muted piano smacks modulate into rhythmic pokers; Guthrie's kit is processed to ignore any type of sustain.
As a sonic contrast, "Supreme Nothingness" uses minimal brush strokes by guiding a single pitched murmur into a gigantic, undulating cloud, punctuated with the occasional bell, growing more with gong (?) rolls and ending in a crumbling synthetic sizzle. Again, who is playing what is not known, but who cares — it's an amazing take on the often clichйd drone.
"It Doesn't Kill You, It Stops You Living" focuses with a driving pulse that persists and veers into polyrhythm with several members chiming in; Guthrie adds metric modulation through bombast and freer strokes. A collision with exploding piano clusters disrupts the piece into a flurry of hisses, squeals and something that sounds as a rapidly flowing river of matchboxes. Vocal screams, ghostly chants through a pitch-shifting device appear and give way to a bastardized Tibetan religious procession rife with UFO attacks and Art Blakey freak-outs.
Though brilliant performers on their own and in smaller units (i.e. Noetinger and Guthrie's Face Off), the group challenges each other to a terrific cat-fight. The Thymolphthalein here might not be so much about goosing musical language but to the individual parts. - Dave Madden, SquidsEar

Contrabass – Natasha Anderson
Double Bass – Clayton Thomas
Drums, Percussion – Will Guthrie
Electronics – Jérôme Noetinger
Piano, Synthesizer – Anthony Pateras