Trumpet Trumpet Synthesizer Press
Cassette Gods Oh Baby Review (12/18/14)
I’ve always had a weird relationship with splits. On one hand, you’ve got your great splits – banana comes to mind, and also that half-chocolate half-vanilla soft-serve you used to get everywhere. On the other hand, you’ve got your gymnastic splits, inseam-splits, favorite-band-calls-it-quits-and-splits, and the like. I guess what I’m saying is, the appeal of a split comes down to what it’s splitting, and whether whatever’s being split might have been better off left alone.
Enter Trumpet Trumpet Synthesizer and Horaflora’s “Oh Baby/My Acoustica.”
The A-side of the cassette features the 16-and-a-half minute “Oh Baby” by Brooklyn-based duo Trumpet Trumpet Synthesizer, featuring a genuinely strange and unequivocally functional combination of the eponymous amplified trumpets and synthesizers, joined intermittently by haunting vocals. Opening with warm, treated horns over a bed of lush synthesizer, the track gradually sheds its harmony as it progresses first into ambiences and later into a hissing, feedback-heavy flurry of intermittent noise.
Viewed holistically, “Oh Baby” might serve as a microcosm of the electronic music listener’s journey into the genre: Beginning in the recognizable realm of discernible harmonic instrumentality, it drifts gradually – even coherently - into a world of jarring noise and floating scraps of melody echoing into dissolution, embodied perfectly by Erica Eso’s halting vocals toward the end of the piece...
Boston Hassle Oh Baby Review (8/20/14)
The group, Trumpet Trumpet synthesizer, aptly named because it features Jacob Wick and Brad Henkel on trumpets and Weston Minissali on synthesizer/vocals/vocoder has a new release, a sidelong contribution to a split with Raub Roy, aka, Horaflora on his label Weird Ear Records. While everything Roy has put out, both as a performer and a label head, has been nothing short of fantastic, my focus here today is Trumpet Trumpet Synthesizer’s side, titled “Oh Baby”, as Horaflora’s side won’t be available for online listening until the full release drops on September 1st.
Minissali, who is known primarily as a member of the Brooklyn based outsider art rock band Cloud Becomes Your Hand, is seemingly responsible for the concepts at play here and the composition at hand, and presents a piece that makes a great case for music that blurs the lines between meticulously composed, sonically challenging music generated by graphic processes and improvised music. “Oh Baby” has several sections that blend in a way where different sections are clearly delineated, and have their own identity within the compositional fold, yet don’t beg to be seen as progressions towards a certain somewhere in particular. The piece is extremely dynamic, ranging from a section that involves synth and trumpet echoing each other in soulful, almost guitar-like love cries to moments of quasi-microtonal sonic agreement to the point where the instruments can barely be delineated to moments of unapologetic abrasive sonic blasts. Eventually, a spare and gestural event occurs in which the synthesizer generates a low bass tone under a texture with Minissali on vocals and (seemingly) trumpet playing effected multiphonics that creates the effect of providing a subtle yet definitive ending of the track. It is difficult to tell which aspects of this music are “composed” vs. “improvised”, though I am guessing that this piece was generated by use of a graphic score (an assumption I am making based on what I know about previous releases from this band). But this question is almost completely irrelevant given that every moment of this piece clearly comes from a place of very intent listening and extremely advanced sonic congruency. Often times the trumpet sounds provide the most percussive aspects of this music and often trades roles with the synthesizer in creating the lower partials of the textures at hand. “Oh Baby” is a piece that is a testament to the fact that highly intellectual processes that are intent on realizing inherently cerebral and conceptually complex musical ideas can result in music that has no less of an emotionally relevant content to the listener than anything else...
Last Nights Records Self-Titled Album Review (4/4/12)
...Trumpet Trumpet Synthesizer works within a heady conceptual realm of contemporary compositions. Something which roughly translates to "music for those who like to think in the post-noise, post-minimalist, post-new music kinda world." You know, the one where digital freedom allows for vast histories & futures to unfold before our eyes.
The trio roughly inhabit a interzone or contradictory place within the musical landscape. Performing group leader Weston Minissali's compositions on one hand allude towards more traditional forms of academic music, while their freeform / improv based structures & fact that each were written for the specific players begets another answer. At moments its sounds like a more straight laced Jon Hassell while at others mixing in elements of classic electronic music of the past like Karl Stockhausen or a myriad contemporary noise/sound artists put in the room with a jazz band.