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THE
ASCENSION 2003 re-release
Careless
talk saves lives -July 2003
Finally,
Glenn Branca's classic "The Ascension" has just been reissued by Acute, and, as you would expect, it's magnificent, huge and dense and threshing and full of miraculous clouds of overtone hover and viciously breathed guitar heaviness. It's a classic piece of NYC loft process-rock brutalism that no home should live without. And if that's not enough, the sheer sonic violence of the two-minute solo performance, captured on film and appended to the disc, is one of the most exhilirating things I've heard since Keiji Haino first blatted my head's way. And, really, can you ask for more than that?
- jon dale
Kerrang - June
21 2003
Guitar-mangling pioneer on an undiscovered alt-rock classic.
The missing link between Velvet Underground and Sonic Youth, Glenn Branca played
a pivotal role in the evolution of guitar music. Deconstructing
the electric guitar and rebuilding it as howling, clunking, feedback-drenched
symphonies that utilized multiple players, his work owes just as
much to the experimental sounds of Philip Glass as The Stooges.
Cutting his teeth alongside the NY punks of the late '70s, Branca's "The Ascension" (released in 1981) features future Sonic Youth guitarist Lee Ranaldo and is one of the great undiscovered gems of no wave/alternative rock. Nihilism, discordance, chaos and tightly-wound musicianship are the order of the day here, 'pieces' such as "The Ascension" and the 12-minute "The Spectacular Commodity" the 1980's underground's versions of the '1812 Overture'. In a word: visionary.
- ben myers
NME -June 14th
2003
New York visionary's symphonic guitar piece
While most of his downtown contemporaries seemed set on dragging punk rock into
the gutter, Glenn Branca had a higher purpose. On 1981's "The Ascension", four guitars are gathered into a shrieking symphony, multiple strings tuned to the same note to ratchet up the sheer aural overload. It's by turns gratingly shrill and starkly beautiful - like the ghost of Joy Division's 'Atmosphere' channeled into a towering Marshall stack.
Sonic Youth's Lee Ranaldo plays here, and Thurston Moore would later join Branca's ranks. But while the Youth derived much from this monolithic maelstrom, they would never better it.
- Louis Pattison - 9
The Telegraph
- June 14th 2003
In recent years, Glenn Branca has come to be associated
more with the classical end of avant-garde music, alongside Philip
Glass and Steve Reich, creating mesmerizing, repetitive tone cycles
as part of his eponymous Ensemble. But he started out making experimental
rock music with the likes of Lee Ranaldo and Thurston Moore, who
went on to infiltrate the mainstream as members of Sonic Youth.
Recorded in 1981, this album, released for the first time on CD, features Ranaldo
as one of four guitarists that Branca put together in an attempt
to trample over the limitations of the more conventional new wave
sounds of the time. Like Patti Smith and Television, his musicians
came out of the exhilaratingly pretentious scene that centred around
downtown New York in the late 1970s.
On each of the five compositions they wield their guitars like harmonious power
tools, frightening and often ear-splitting in their strength. Not
the easiest of records to listen to, but still sounding thrillingly
new 22 years after its first release. - lynsey hanley
Uncut - June 2003
Overdue reissue of No Wave classic - five stars
The guitar wizard at the forefront of NYC late-70s/early-'80s "No Wave", Glenn
Branca mated contemporary classical structure with ear-splitting noise-rock in
a manner that served both camps equally well, influencing avant noiseniks from
Sonic Youth on. Branca's second release for NY underground label 99 (home to
ESG, Liquid Liquid, etc) is reissued here in all its multi-timbral glory, as
sheets of cascading guitars carefully negotiate the balance between chaos and
control. Extras like a live video clip and notes from Branca's sideman/future
Sonic Youth member Lee Ranaldo sweeten the pot. -Jim Allen
The Wire - June
2003
Originally released in 1981 on 99 records, Glenn Branca's The
Ascension provides a fantastic snapshot of a transitional
moment in the history of New York's downtown music. It represents
the first
attempt to rebuild on ground previously leveled by No Wave
groups Mars, Teenage Jesus & The Jerks, Red Transistor and Branca's
own The Static and Theoretical Girls.
No Wave was primarily fuelled by profound acts of reversal and subtraction, where
any overt notions of melody, form and musicianship were stripped
out in favour of a more elemental and emotionally direct attack.
All substance and no style, No Wave made expressive use of volume
and rhythm, with barked monosyllabic vocals reducing language to
primal phonetics. Yet despite No Wave's aggressively inarticulate
stance, most of its players were more selfconscious than first wave
punks, their assault on form more deliberate than intuited. No Wave
was a signal moment in that it represented a deliberate attempt to
fuse volatile elements from various avant garde disciplines with
rock aesthetics and a post-punk DIY ethos.
Guitarist and composer Glenn Branca was one of the first of this group of players
to fully articulate this bent polygot. In No Wave's eviscerated forms,
he divined a new kind of minimalism, one that had more to do with
the claustrophobic street noise echoing around the skyscraping sound
mirrors of downtown than the meditative headspaces of Terry Riley's
A Rainbow in Curved Air. For The Ascension, Branca stuck to the pummeling
rhythms and studiously artless downstrokes that characterized No
Wave, but added massed guitars, some with multiple strings tuned
to the same note. Branca and his then regular group - guitarists
Lee Ranaldo, Ned Sublette, David Rosenbloom, bassist Jeffrey Glenn
and drummer Stephen Wischerth - work through the implications of
this approach, still a rock group but now boasting an orchestral
reach. Tracks like "Lesson no. 2" and "The Spectacular Commodity" anticipate
groups like Sonic Youth (Thurston Moore also passed through Branca's
ranks), Swans and Savage Republic, but the title track - a 13 minute instrumental
speaking
in tongues unknown-remains inviolable.
Between them the four guitarists generate an unearthly torrent, rising
through a series of metallic plateaux that dissolve like breath with the sudden
shift
of a chord. In the sleevenotes Lee Ranaldo bemoans the fact that
the guitars were close miked in the studio, claiming that the lack of room tone
robs the
recording of the kind of power they were able to channel when agitating
the volume of air in a concert hall or club; but it's precisely the music's unyielding
quality
and eye-level fury that marks The Ascension out as something else
entirely.
Call it a Heavy Metal symphony, punk rock minimalism, avant drone,
whatever you want.
It's a beautiful noise. - David Keenan
Sunday Times Culture
- June 29th 2003 - Three Stars = outstanding
Prepare for a slurry
of vintage New York egghead art-rock. This month sees
the release of two compilations of late-1970s/early-1980s downtown
dissonance. New York Noise (soul jazz) and NY No Wave (Ze), but
Glenn Branca's 1981 album
The Ascension is a cornerstone of the scene, now re-released with
criminally nostalgic sleeve notes from eyewitness Lee Ranaldo, of
Sonic Youth. Critics
compared Branca's ensemble to the Ramones playing Philip Glass, but
this equation neglects
Branca's spatial awareness of silence, and the disorienting, nauseatingly
spiritual effects of his ensemble's profound repetitions. A bonus
black-and-white video
clip of Branca, suited and soloing alone against a white backdrop
in 1978, is an iconic image of cool that towers above the current
New York crop's hand-me-down
insouciance. SL
Mojo - july 2003
- four stars
Second solo album from '81 features a fresh-faced Lee
Ranaldo.
Spotlights Sonic Youth's debt to this pioneer.
Originally released at the time of the New York No Wave scene-something
Branca had himself been involved in with The Theoretical
Girls and The Static - this
was something way, way beyond. A mere four guitarists - including
Branca himself - and one bass feature here, less than
half the players on some of his symphonies,
but they still sound like they could flatten a house. Twenty-two
years on the metallic clang and combination of dissonance
and strange harmonies in this
music
is still amazing. It was cranked out at such a level that although
it overlapped with the world of 'serious' composition,
in essence it was pure rock. The only
minor gripe is that the drums thunder along with little apparent
connection to the rest of the instruments. But it still
sounds like nothing else, especially
the title track, a guitar hurricane made up of monstrous, hitherto
unimagined chords. - mike barnes
Record Collector
- July 2003
Emerging from New York's no-wave movement of the 1970s,
Glenn
Branca seems simultaneously inspired by Steve Reich
and the Ramones, creating recordings
that
take cues from both minimal classical and rock 'n' roll music.
Since the original release of The Ascension in 1981,
the former member of the Static and the Theoretical
Girls has composed pieces for between 100 and 2000 guitar players.
The Ascension might only feature five further co-conspirators
(including Sonic Youth's Lee
Ranaldo, who also contributes retrospective sleeve notes) but
Branca, nevertheless, strived for a sense of enormity
and magnitude that
he would attempt more literally
with three-figure band lineups. Despite this breadth of vision,
however, The Ascension's five compositions (two of
which extend beyond 12 minutes) are peculiarly
tedious. The clanging, jarring guitars are akin to a war of
attrition and a de facto reminder of the beauty of silence. - david
hemingway
Muzik -July 2003
- four stars
This remastered re-release of Glenn Branca's 1981 debut
is
a must for anyone
who's ever enjoyed the acid-edged, urban dream worlds of
Neu and Sonic Youth (Lee Ranaldo of Sonic Youth was in
Branca's band
at
the time) or the epic noise-rock
of GYBE, Black Dice, or, most of all, late-period Swans.
Underpinned by Krautrock-ish rhythms, the music goes from
spine-tingling, wordless neo-ambience, to an engulfing
sonic assault that's like having black ants swarm over you.
An astonishing record, whose power has been dimmed neither
by oddly over-warm production or
time. -
Duncan Bell
Kansas City Pitch (www.pitch.com)
In bands such as the Static and Theoretical Girls, Glenn Branca
helped to spawn New York City's evanescent yet seminal No Wave
movement.
But his most lasting and loudest work occurred in the massive
symphonies
he recorded
under his
own name, many of which -- along with Rhys Chatham's similar
pieces
-- laid the
foundation for noise rock. Throughout the '80s, no other
figure more exhilaratingly combined neoclassical arrangements
and
tonal exploration
with feral Lower
East Side rock energy and volume. The Ascension originally
came out in 1981, and
its influence still reverberates through the rock underground.
Sonic Youth, for one, owes a huge debt to Branca. (SY guitarist
Lee Ranaldo
plays on
this disc and pens liner notes.) Using four guitars, bass
and drums, Branca's ensemble creates a caustic clangor with
a Wagnerian
will-to-power
that
makes
much of
The Ascension sound like a clarion call for military mobilization.
(These guitars are WMD.) The awesome title track is Branca's
crowning achievement,
a grotesquely
quixotic articulation of the desire to be superhuman -- or
at least to forge the ultimate guitar tone, the all-encompassing
KLANG that
conjures
images
of the birth of stars, planets and galaxies. -Dave Segal
xlr8r - July 2003
the 80s revival shouldn't be seen as entirely shallow and
insipid. With the renewed interest in all things No Wave,
releases
such
as this offer
the more
potent Jekyll to electroclash's innocuous Hyde. Best known
for linking up Sonic Youth anti-guitarists Lee Ranaldo
and Thurston
Moore (only
Ranaldo is present
in this five-guitar line up), Glenn Branca's own small
guitar arsenals have
become the stuff of legend. If these recordings pale in
comparison to the live experience, the ecstatic drone of "Light Field (In Consonance)" and theatrical histrionics of "The Spectacular Commodity" are no less rapturous for it. Essential.
- alexis georgopoulos
Vice - July 2003
- 9 - "Best Cover of the Month"
If five guitars droning amid prehistoric drum rhythms in a
bristling, effervescent wave of electric speed isn't your idea
of heaven, you need to get with it, like, quick. This is what
Yngwie Malmsteen might have done if he ever stopped using his
guitar as an extension of his dick. OK, not really. But you
get the idea. - Erik Lavoie
Return to the
top Glenn Branca
The Ascension
Acute/Carpark/Fusion III
by Chris Twomey
The godfather of New York noise-rock, Glenn Branca, has his seminal
first album from 1981 remastered and finally reissued
in the US (it’s cd
debut was on the Italian experimental label NewTone). Branca is the
composer who came out of New York’s "No Wave" art-punk scene with an
idea of massed guitars with precise tunings, that grew from four players
(plus bass and drums) on The Ascension to orchestras playing specially
built instruments with steel strings - even up to 2000 musicians for a
special millennium performance in Paris! Guitarists who played in his
groups over the years included members of Sonic Youth, Swans, Helmet and
Band Of Susans, who took Branca-style dissonance into their own rock
contexts. But what Branca heard in live performances of longer,
sustained pieces like "The Ascension" was the textural possibilities for
his subsequent wall-of-sound symphonies that were composed with an ear
for the ghostly "resultant tones" produced by such complex tunings. In
this way he burst upon the avant garde sound worlds of composers
Penderecki and Ligeti, scaring theorists like John Cage with his wild,
ecstatic energy.
Repellent Zine
Sounds and a place that is said to no longer exist
is the poetic claim used to analogue this studio accomplishment.
A musical craft that the engineers could not completely
handle after its etching in 1981. Documenting this avant-garde
emission as an
antidote for the schematic blandness found in much of today's
musical potions (whose palatableness involves little thought
or work) is
contrary to its potential as an augmentation of the malignancy
created by the lust for making something new.
This escapade subtly abandons familiar conventions and shatters the dichotomy
between the collective and the self, as it is a great feat
to achieve the two at once. It is experimentation presented
by an ensemble
of trained "middle class wanderers" consisting of four guitars,
a bass, and drums. Here, the usual suspects of a traditional orchestra
can be found. And the elements of conceptual art are well dwarfed
by technical strategies and sheet music. The tuning is abnormal,
yet precise. Theatrical and cinematic styles are intrinsic in its
direction, making for tense, suspenseful, and, of course, climactic
musical landscapes. Beyond the 19th century romantic spikings, the
dramatic intentions of their music were apparent in live performances
as they coaxed "demons into actuality" and "grated strings in a
crucifixion pose" but now, can only be imagined when listening.
Although subsequent echoes exemplify The Ascension's impact on art noise as a
movement, these sounds for the time were undeniably uncharted, and
perhaps even unmappable. Rock-guitar-turned-stringed-orchestra,
the vessel for destination nouveau. The points of reference that
apply to this "high art" are indefinite. One could easily point
their finger at scientists like Per Ubu, Sonic Youth, or Blonde
Redhead, who all create a sandwich in terms of the musical timeline;
Glenn Branca being the meat between the buns. But there is hardly
any trace of homage paid to the music scene that was saturating
the eardrums of every hip animal in New York City at the time of
its release. Looking to their historical musical antecedents, Branca
and his clan rely heavily on repetition for their inquiries, they
twang strings, they hit things. At times this group of musicians
sounds as though it was just born, and discovering music and their
instruments for the first time. And at other times like an advanced
species that has stumbled upon a new, more advanced form of expression
used to summon a greater type of being. The locality of The Ascension
sound is not insignificant; its terrain is not stagnant. It is all
epic.
Giant Robot -
Summer 2003
Mixing high-art music with lo-fi punk rock, this
1981 recording pits the rhythm section against four guitarists
including Branca, David Rosenbloom, Ned Sublette, and Sonic
Youth's Lee Ranaldo.
Guess who won? These four pieces place rock guitar in
an instrumental and experimental setting, spending up to
13 minutes to explore riffs,
melodies, and songs. It's very melodic-at times dramatic-with
themes coming, going, weaving, and growing on an orchestral
level. There's
also a short film to help you visualize the chaos. -Martin
Wong
Logo Magazine
- June 2003 - four stars
Nostalgia is a curious phenomenon,
the post-event
cool afforded the likes of Abba and the Carpenters
proves that, and looking back to "the good old days" is an undertaking
to be approached with caution. So, listening to Glenn
Branca's "the
Ascension" twenty-two
years after its initial release, is this the apogee
of the avant-garde "no
wave" movement pioneered by Branca's own Theoretical Girls,
or forty minutes of pretentious self-indulgence? The
answer comes by a circuitous
route: Sonic Youth's Lee Ranaldo and Thurston Moore
served time with Branca, and the roots of the Youth's
genius are here, as are
the seeds of Tortoise, Godspeed You! Black Emperor;
listen
closely and you'll even hear then-contemporaries Joy
Division and Echo and
the Bunnymen. Self-indulgent it may be, pretentious
it certainly is not; this is the ORIGINAL pirate material.
- Gillian Nash
www.pitchforkmedia.com
I
was teaching the Dwight highschoolers how to drunk-drive when I
first heard The
Ascension. "When the vision's getting blurry, when you can't
handle yer liquor or yer speed," I said, "cover one eye and
your head'll stop spinning. It takes that binocular
dilemma right out of there so you can see straight.
Visionary or not, it's easy to
steer straight with only one eye working."
Glenn Branca knows nothing about this: he was never one to limit his vision.
Seeing Rock out of one side and Academic out the other, the two only blurred
together in his third eye. By 1981, Branca had already played in Rhys Chatham's
Guitar Trio for four years, and had disbanded his No Wave groups Theoretical
Girls and The Static to focus on larger movements for amplified guitar. He
had even completed compositions like "Lesson No.1" and "Dissonance", bringing
to light the possibilities for multiple guitars beyond the Molly Hatchet formations
of the early 70s.
But the group he assembled to play a rare tour of the States around 1980
would cohere in such a way as to make his most recent work to that point, "The
Ascension",
his most fully realized. Featuring David Rosenbloom from downtown group Chinese
Puzzle, as well as future Sonic Youth guitar-beating beat Lee Ranaldo, the
piece was scored for four guitars, bass, and drums; his sextet was Times
Square neon
and the ghost-light luminance of the city at 3 a.m. focused into a laser-like
intensity.
It was ferocity never seen nor heard before, not even on that coast-to-coast
tour, where the guitars would slash it out on stage nightly, roaring alive
like the 6 train, one-eyed through dank tunnels across the country. Trying
to capture
that essence in the elitist Power Station studio, even Ranaldo-- in his excellent
liner notes for this reissue-- admits it was hard to recreate the actual
beast. Whatever Weasel Walter was able to glean digital remastering from is
unbeknownst
to me, but this thing is fucking huge.
You can sure bet Branca knows about driving drunk: he swerves about on these
city streets between two musical extremes like a pilled-n-pompadoured Popeye
Doyle on his way to the French Connection set. On one hand, he seems to be
in the slow lane with all the Sunday drivers moving to Brahms and Buckner
on the
West Side Highway, making symphonic movements with the blinker on for miles
before the turn. Riding on the Neu!-like toms of Stephan Wischerth and a
bassline that
lunges out like Drive Like Jehu, the four guitars in "Lesson No.2" quickly
gain on traffic, buzzing and droning about 88 miles faster than anyone else
clogging
the lanes. It sounds almost reckless, as he steers and swerves the guitars
into the other lanes, right at the oncoming lights of punk-crushed cars,
weaving in
and out of traffic, and then suddenly cutting down dark Chinatown alleys
of urban rot. Your knuckles turn white, clinging to the door handles-- it
feels
so out
of control, but every movement has been precisely laid-out.
"The Spectacular Commodity" is precision defined, the massive guitars gleaming
like metal and glass towers in a grand opening movement, its bass menacing
the very foundations with a low rumble. The manic speed of the piece increases
to
white-hot levels of crashing, cacophonous overtone; from these bloodied guitar
strings and twisted metal carnage you can discern not just the euphoric guitar
bliss of everyone from Sonic Youth to My Bloody Valentine, but also the mighty
crescendos of Sigur Rós, Mogwai, Black Dice, Godspeed You Black Emperor!,
or whomever, here executed with a plasma-like energy and melodic/harmonic
structure
still light-years beyond the forenamed.
"Light Field (In Consonance)" is as majestic as its title would suggest: guitars
rain down like torrents from thunderclouds, but with a savagery typical of
back alley stabbings. When the guitar strikes like sheets of lightning into
these ascendant runs at the apex, it's as anthemic and all-powerful as anything
I've
ever heard from a six-stringed electric, in rock or any experimental context.
I've had the symphony of the streets do a little winking dance in a light drizzle
to Monk's solo piano playing before, I've had Ellington make the lights of
Broadway
glimmer and dance for miles. White Light/White Heat split my skull open with
the cold cruelty of the last exit to Brooklyn, while Paul's Boutique foretold
the coke-smoking pleasures of the Vice lifestyle ten years before I arrived.
Daydream Nation carved out the skyscraper shapes and dungeon scrapes of the
sewer below in sound, but none of these quintessential New York records made
every
single movement of the Gotham populous move as one quivering entity in my
head as does Branca's finale, "The Ascension".
Every step pounded out on concrete, every seeping bag of dragged garbage, every
rat squeal, every metal-on-metal cry of the arriving train on the third rail,
every disfigured bum, and all the echoing voices seem to be notated for these
detuned guitars. The nasty city these compositions were birthed in appears
no longer to be with us. A ghost city, seemingly isolated to Martin Scorsece
and
Abel Ferrera videos, still haunts us as an ineffable layer over the cleaned
city of Disney, as brutal and terrifying as the city has always been. She's
never
left; it's nice to have her back.
-Andy Beta, June 20th, 2003
www.dustedmagazine.com.
the ascension debuted at #12 on their college radio charts too!
best,
todd
Guitar Noise Reissue
The Ascension was written in 1980, but
this reissue also contains a video clip of Glenn Branca
playing electric guitar in 1978.
Branca bangs his head wildly, thrashing at his guitar – the actual sounds
produced, however, seem to bear a closer relationship to Branca’s proximity
to his overdriven amp than to what he’s actually playing. The clip looks
and sounds a little bit ridiculous now, especially since Branca was onstage
by himself – it’s like
a drunk teenager throwing a tantrum. But what Branca was doing must have
seemed pretty wild then: New York’s No Wave scene (in which Branca was a
key player) was in its infancy, and the closest antecedents for Branca’s
noise either generally adhered to fairly traditional approaches to song form
(punk rock) or dynamics
(free jazz guitarist Sonny Sharrock).
Fast forward two years, and Branca was still embracing noise but looking
for new ways to shape it. The Ascension finds Branca in transition from his
1978
off-the-cuff screeching to his later punishing, layered guitar symphonies
(the first of which was recorded in 1981).
On The Ascension, the bombast of Branca’s later work is clearly present. The
album features four guitarists (including Branca and future Sonic Youth member
Lee Ranaldo) along with bass and drums. The guitars, usually played with
nonstandard tunings, are set for stun – it usually sounds like all four guitarists
are playing, and they're almost always using distortion. And drummer Stephan
Wischerth’s
primal thumping rhythms will be familiar to fans of Branca's later work.
Also, the long
running times and epic feel of many of the pieces on The Ascension show that
Branca was already finding creative ways to work outside the confines of
the standard rock song. The Ascension is every bit as dramatic as anything Branca
was doing a decade later.
Still, Branca had a long way to go before he wrote many of his gloriously
loud
symphonies, the defining characteristics of which were his uses of dense
clouds of feedback sound made up of aggregates of weird guitar tones. Most of
the
guitar sounds on The Ascension are fairly straightforward, even dry, in comparison.
The guitars interlock in patterns that are half minimalism (in that they're
simple
and repetitive) and half heavy metal. Only on the excellent title track are
they primarily used for texture.
For that reason, The Ascension isn't nearly as brutal or overloaded as much
of Branca's later work. But it's a fascinating historical document, and it
has still
stood the test of time fairly well because of Branca's ability to use extended
forms to create drama.
By Charlie Wilmoth
Other Music -
june 17th, 2003
Finally, a legitimate re-release of Glenn
Branca's seminal debut long playing record that was originally
released in 1981 on
the most important
independent New York label of the day,
99 records (home to Liquid Liquid, ESG). After moving to
New York and fronting two
of the most caustic no wave
bands going (Theoretical Girls, Static),
Branca honed his vision, taking out the histrionics, but
leaving in the theatricality
and
grandiosity. This
is huge music made with a small ensemble,
and yet for all its reputed ugliness, the compositions
here actually soar. Patterned
guitar riffs
create a forward moving velocity that
belies the
density of the songs. This is possibly the most listenable music
to be sprung from no-wave; in fact it
practically turns on the genre's conventions
by getting downright romantic at points. Branca's ensemble famously employed
Lee Renaldo (who is featured here) and Thurston Moore in their pre-Sonic
Youth days, and
the more you
listen the more you realize how intensely
this must have influenced their subsequent careers. Put this on and then
give "Sister" (recorded
three or four years later) a spin and you'll see what I mean. Essential.
- Michael klausman
here's a review of the ascension from
the san francisco bay guardian:
Originally released on 99 Records in 1981, The Ascension marks a
transition for Glenn Branca from his rock bands, the Static and Theoretical
Girls, to
the guitar
symphonies he is best known for. Ascension can also be seen as the
point at which the early-'80s New York underground merged with high-art
ambition,
exemplified
by the Sonic Youth crew who served in Branca's guitar army.
You can hear it in a track like "Spectacular Commodity," which shifts
from dark, ominous clangings into triumphant melodies pulled out
of four open-tuned
electric
guitars. The simple rhythm section of Stephen Wischerth and Jeffrey
Glenn allows Branca's, Lee Ranaldo's, Ned Sublette's, and David Rosenbloom's
guitars
to
collide and respond melodically. Even in his vocal groups, Branca's
songs were always
repetitive and minimal, quite different from the raging skronk and
skree that is associated with no wave. Though this record has its
jarring, visceral
moments,
the harmonics and drones of "Light Field (In Consonance)" hint
at the likes of Godspeed You! Black Emperor
rather than the retro Gang of Four set.
Just like Robert Longo's famous fighting
suits that adorn the cover, the record is about the savagery lurking
under
polite surfaces.
As an embodiment of that
tension between control and chaos, Ascension
still sounds vital. (George Chen)
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