Tunneling outta there took longer than expected.

Huh?  What?  Um, (cough) nothing.

Anyway, I just finished -- I mean, just finished, as in one hour ago -- recording my new record (can one record a record?  Can you sleep on a rainbow?  Can you drink the sky?).  It's a piece in three movements, where I overdubbed myself many, many times, and I managed to resolved the issue of how to get a saxophone sound out of a rototom.  Also, tuba and brass sounds out of tympani.  Anyway, this record should be out by October at the latest, but I'll be posting excerpts on my MySpace page before then.  I will now commence recording on another piece, which will be released on the Greek label Absurd Records.  As if in anticipation of this new recording, my computer (um, which I record on) has been so nice to me lately by accepting things it really shouldn't accept, like playing back twenty-plus overdubs without crashing.  It's also stopped making that horrific loud fan noise.  I...(sniff)...I promised myself I wouldn't cry...

Barn Owl made a studio recording recently, with the capable and pirate-hat-wearing Chris Cooper at the helm.  We recorded a few hours' worth of stuff, so we're not yet sure what form that'll take, but rest assured, it'll take one form if it takes a thousand.  Also on the recording front, the concert that Ben and Roger Miller and I played in Cambridge last year was just mixed (unfortunately, without my participation, due to a head full of cement...at least, that's what the doctor told me), and should see release fairly soon.  I also recently did an interview with the Rice Thresher, the Rice University paper.  Generally speaking, e-mail interviews aren't my favorite, as they don't allow for follow-ups or challenges (shouting "I was cleared of those charges!" doesn't have the same impact in an e-mail as it does in person or on the phone), but I enjoyed this one.  

And finally, merci beaucoup to Noel Tachet his review of not to be taken away in the French magazine Improjazz:

matt weston
Not to be taken away
7272music #004
www.7272music.com, iTunes
Matt Weston dr, traitement du son
Il existe encore des musiques inécoutables, Matt Weston en est la preuve, c'est un improvisateur punk sans souci de mesure ni égard pour ses auditeurs. Ce qui l'intéresse ce sont les tourbillons du son, dans la lignée de Cecil Taylor mais assis non pas derrière un monument de la culture musicale mais à une batterie et devant des bidouillages électriques/électroniques. Matt Weston se fiche de l'histoire, il raconte la sienne et il la raconte fort, il fait du bruit comme une cigale qui se secoue les élytres. C'est naturel et parfois insupportable mais on y revient. Comme le dit le titre choisi par Matt Weston, "not to be taken away" ça ne s'emporte pas, ça ne se déplace pas, et sans doute ça ne s'emporte pas au paradis ; c'est lourd, indifférent, agressif et dépourvu de censure.
Noël TACHET

Comments

[google translate]

There are still inécoutable music, Matt Weston is proof, it is an improvisational punk measurement without concern or regard for his listeners. What interests him are the vortex of sound, in line with Cecil Taylor, but not sitting behind a monument of culture but music and a battery before bidouillages electric / electronic. Matt Weston sheet of history, he recounts his own and he tells the powerful, it makes a noise like a cicada that shakes the elytra. This is natural and sometimes unbearable but it comes back. As the title chosen by Matt Weston, "not to be taken away" explodes it does not, it does not move, and perhaps it does not explodes in paradise, so heavy, indifferent, aggressive and free from censorship.