Format: 150 gram White Vinyl Ltd. Ed. 500
Released: 22 Apr 2014
Genre: Future Jazz
It was carved out of a rare day of relaxed but rigorous jamming at Stone Gossard’s Studio Litho studio in Seattle, and hatched from a band organically searching for a modern, electro-fied application of the improvisatory principles behind bands like Miles Davis’ late‘60s ensembles and Bill Laswell’s eclectic early ‘90s collectives. But it is neither of those groups.
It is the culmination of a chemistry honed by a group of comrades at latenight, freeform gigs at Seattle clubs, where the city’s friskiest and riskiest players convene—casually, ready to laugh, wig out, whatever—to explore dangerous and beautiful terrain, from the comfortable seat of a big fat groove. And it is the sound of those musical adventures refracted through the prism of a remixer with a composer’s ear and a photographer’s eye.
Trilon is Skerik, the saxophone maestro known for his work with Critters Buggin, Garage A Trois, Les Claypool, Marco Benevento, and his own Bandelabra. It is keyboard and loop-guru Reggie Watts, the globally recognized comedian/musician who GQ calls “a comic genius.” It is Michael Shrieve, one of rock’s pioneering drummers, early Santana’s engine room, and the leader of Seattle supergroup Spellbinder. It is Brad Houser, bassist for David Garza, Edie Brickell and Critters Buggin. It is Mike Dillon, percussion radical and indie-jazz icon behind the Mike Dillon Band. It is James “Roto” Rotondi, guitarist/synthesist for Mr. Bungle and The
Grassy Knoll. It is Brian Siskind aka Good Rester aka Fognode, mixer, remixer, composer and stereo sculptor. And it is neither Skerik, Watts, Shrieve, Houser, Dillon, Roto, or Siskind.
Trilon is about the Space between them,
and the time between its creation
and its eventual unfolding.
Produced by Michael Shrieve
Co-Produced, Remixed by Brian Siskind