tiger hatchery

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  • tiger hatchery / the cops – split – green records

    out of stock

    Side A: A blown out tape recording of Tiger Hatchery playing an amazing set at the Division St. gallery in Detroit, Michigan.
    Side B: The cops (or some big dudes claiming to be the cops, no one really is sure) coming in, and majorly hassling some patrons, causing Tiger Hatchery’s set to be ended prematurely. Short, but sweet. Xerox covers. Numbered edition of 20 copies.

  • tiger hatchery – death hatchery- itdn group

    out of stock

    Final daze: live sets, dead venues. The THC trio play for the last time at The Mopery and The Bakery. Joined by the Heat Death three piece at The Bake: Tiger Hatchery + Heat Death = Death Hatchery. Both shows end when the cops show up. DIE!

  • tiger hatchery – s/t – pizza night

    out of stock

    the first pizza night vinyl, amazing hi-fi live session recorded with a mobile studio in my own living room this past winter, a beautifully derranged free jazz jam in which time means nothing, rhythmically challenging tonal barrage heavy screen printed sleeves and carefully screen printed side of the record, limited to 150 – ultra rare”
    one sided lp

  • white prism – reappear – cylindrical habitat modules

    out of stock

    Phenomenal set of outer-limits synthesizer music from Ben Billington (Quicksails, Tiger Hatchery….) and Josh Burke (Sky Limousine, etc.). Definitely their spaciest outing yet, and one of the best tapes from this batch. White Prism continues their winning streak (after the EXCELLENT field studies tape last year) and builds on their foundation with two side-long pieces that paint an abstract, utopian logan’s run reality for the listener. They have this amazing, almost “straightforward” style that just makes this tape so LISTENABLE; there are plenty of beautiful, fluid changes and tastefully sprinkled textures. Everything is in EXACTLY the right place, but nothing is predictable or stale. Side A explores deeper interplanetary float, even getting into killer Raicevic territories at times (the ten-minute mark on this side kills me every time) and Side B is more of a sparkling tapestry of almost new age-y warmth. Overall an amazing tape to keep coming back to. Edition of 100 on transparent red tapes.

  • tiger hatchery – lemon crystal sunshine – deception island

    out of stock

    “lemon crystal sunshine” is both the first release by chicago’s tiger hatchery outside the orbit of their in-house imprints and their most coherent, lovingly realized, and hi-fidelity statement to date, with all the makings of a proper public debut. it’s no small thing to say that, in a world of massively hyped ad hoc collabs, mike forbes (tenor sax), andrew scott young (double bass), and ben billington (drums) are a genuine, dedicated, and hard-touring ensemble, and a stunningly matched one at that; while all three players have turned in head-spinning cult sessions in the past few years (forbes with j. guy laughlin, forbes and young as a duo and with weasel walter on 2009’s skullsplitting “american free” lp, and billington solo and in duos with jason soliday and brett naucke), i knew from the first seconds of their set at champagne of fests iii last year that this was something special, and the performances of theirs that i’ve caught since then, at voice of the valley, philly’s danger danger, and cleveland’s the cool ranch have only reinforced that notion.

    at once too formalist, too perversely ludic, and too explicitly conscious of all the resonant objects they’re wrangling to tolerate an easy lumping-in with the neo-fire music camp and too focused on actual asskicking and immersive sheets of lusciously corroded timbral wonder to permit their reduction to ego-fodder for the plausibly bed-wetting highbrow improv set, tiger hatchery got those legs underneath ’em amid a grueling mise en abime of basement fistpumpers, and it shows. refreshingly indifferent to any/all tired, eyeball-glazing handwringing over the moral hazards of idiom, as only a band too adept and committed to bother with such rhetorical crutches can afford to be, they are, quite simply, one of the best free jazz outfits operating today.

    forbes’ bloody, eviscerating tone and evan parker-level circular breathing chops are already the talk of the proverbial town, but what’s most impressive is the integration of these traits into a complete and highly personal style characterized by flinty reserve, strikingly antihuman phrasing, obsessively slonimskyian cellular/permutational construction, and the occasional, tantalizing glimpse of a bent, neomodern lyrical sensibility, evidenced at the start of side two as he comes on like ornette coleman disintegrating in a hail of cough syrup. what glues this all together is young and billington’s strikingly congruent rhythmic vocabularies, the sum of which is often rich in loose-limbed, muppety thwack, though “lemon crystal sunshine” offers each of them ample opportunity to stretch out into more nuanced territory as well. midway through side one, billington takes his finest recorded solo to date, a nearly whisper-quiet manifesto of gradually ratcheted-up tension that deftly sidesteps the cliches of contemporary free drumming, drawing to a close as young picks up the bow for a spiraling, kaleidoscopic duet with forbes, showing off a gently weathered approach to the higher partials that’s both commendably focused and almost shockingly lovely. i promised myself that i’d never end a writeup with the phrase “must grip,” but seriously.