Weasel Walter | |
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Background information | |
Birth name | Christopher Todd Walter |
Born | Rockford, Illinois, U.S. | May 18, 1972
Genres | Avant-garde, experimental, free jazz, no wave, death metal, technical death metal, progressive metal, Avant-garde metal, noise, noise rock, brutal prog, new music, punk jazz, hardcore punk, free improvisation |
Occupation(s) | composer, multi-instrumentalist, producer, record label owner |
Instrument(s) | drums, guitar, double bass, bass, bass clarinet, c melody saxophone, trombone, trumpet, mellotron, organ, piano, synthesizer, electronics, vocals |
Years active | 1991–present |
Labels | ugEXPLODE, Thirsty Ear, Skin Graft |
Member of | |
Formerly of |
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Website | ugexplode |
Weasel Walter (born Christopher Todd Walter, May 18, 1972) is an American composer, improviser, multi-instrumentalist, producer, and founder of ugEXPLODE Records. [1] Walter's work has been informed by techniques and traditions of music including Avant-garde, experimental, no wave, free jazz, extreme metal, punk jazz, hardcore punk, noise, new music and free improvisation. He coined the term "brutal prog" to describe the aggressively dissonant strain of prog played by groups like his band the Flying Luttenbachers. [2]
Known as an unrelenting [3] and abrasive [4] provocateur whose performances trend toward overblown antics and "nihilistic glee", [5] Walter has been described by renowned guitarist Mary Halvorson as "completely manic and extraordinarily sensitive" [6] and by The Chicago Reader as "a splinter lodged beneath the fingernail". [7] Avant-garde artist Glenn Branca once called him "one of the greatest rock composers who ever lived". [8]
He has performed as leader and sideperson in a number of bands, including Cellular Chaos and Lydia Lunch Retrovirus. [9] Walter has worked with Roscoe Mitchell, Marshall Allen, John Butcher, Tim Dahl, Peter Evans, Mary Halvorson, Henry Kaiser, Jim O'Rourke, Evan Parker, Elliott Sharp, Ken Vandermark, and William Winant, [10] as well as in bands including XBXRX, Bobby Conn, Cock E.S.P., Curse of the Birthmark, Erase Errata, Harry Pussy, Lair of the Minotaur, The Chicago Sound and others. He has produced albums by AIDS Wolf, Arab on Radar, Glenn Branca, Burmese, Lydia Lunch, Coachwhips, and Total Shutdown. [11]
In 1990, Walter moved to Chicago to work with free jazz composer Hal Russell (born Harold Luttenbacher) at Columbia College. [7] The following year, Russell joined Walter in co-founding the band the Flying Luttenbachers; saxophonist Chad Organ played in the early trio lineup. [12] Russell left the band in the summer of 1992, and shortly after Ken Vandermark took his place for the recording of the band's first 7". [13]
Walter was highly involved in cultivating what he deemed the "Chicago No Wave" scene, [7] [14] meeting new musicians and collaborators through the Luttenbachers' art rock-continuum gigs and the experimental improvised music series he ran at Myopic Books. [15] He graduated from Columbia College in 1995, with a final project, "Un-nerve", performed by a nonet including Ken Vandermark, Gene Coleman, Jim Baker, Kevin Drumm, Jeb Bishop, and Gustavo Leone. [16]
A prolific performing and recording artist, Walter was a founding member of projects including Miss High Heel (with Jim O'Rourke and Azita of The Scissor Girls), Lake of Dracula (with Marlon Magas and Heather M. of the Scissor Girls), To Live and Shave in L.A. 2, 7000 Dying Rats, and Hatewave. [17]
Walter moved to the San Francisco Bay Area in 2003, [18] where he reformed The Flying Luttenbachers with the addition of bassist Mike Green, guitarist Ed Rodriguez, and later Mick Barr. The Flying Luttenbachers officially disbanded in 2007.
In late 2009, Walter announced that he was moving to New York City to join Behold... The Arctopus as the band's second drummer. [19] He played on Horrorscension, released in 2012, and in two tours before leaving the band in 2013. Walter continued finding new collaborators and formed a number of groups in New York, among them Cellular Chaos, a band with Marc Edwards, Admiral Grey, and Ceci Moss. [20]
In 2017, after a ten-year hiatus, the Flying Luttenbachers played several shows in France, with a new trio lineup of Walter, on drums, joined by bass guitarist Tim Dahl and guitarist Chris Welcome. [21] In 2019, a quartet arrangement of the band released Shattered Dimension, with Walter and Dahl joined by saxophonist Matt Nelson and guitarist Brandon Seabrook. [22] Over the next several years, the varying lineup also included bassist Evan Lipson, guitarist Henry Kaiser, guitarist Wendy Eisenberg, guitarist Katie Battistoni, guitarist Alex Ward, and drummer Sam Ospovat.
Lydia Lunch is an American singer, poet, writer, actress and self-empowerment speaker. Her career began during the 1970s New York City no wave scene as the singer and guitarist of Teenage Jesus and the Jerks.
Hal Russell was an American free jazz composer, band leader and multi-instrumentalist who performed mainly on saxophone and drums but occasionally on trumpet or vibraphone. Russel's fiery music was marked by significant humor, not unlike much of Dutch drummer Han Bennink's output. His music was so accessible that People magazine hailed The Finnish Swiss Tour on ECM as one of its top 5 albums of the year. Russell set the table for the free improv and free jazz scene which exploded later in the 1990s in Chicago.
Henry Kaiser is an American guitarist and composer, known as an idiosyncratic soloist, a sideman, an ethnomusicologist, and a film score composer. Recording and performing prolifically in many styles of music, Kaiser is a fixture on the San Francisco Bay Area music scene. He is considered a member of the "second generation" of American free improvisers. He is married to Canadian artist Brandy Gale. He is the son of Henry J. Kaiser Jr. and the grandson of industrialist Henry J. Kaiser.
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The Flying Luttenbachers are an American instrumental unit led by multi-instrumentalist, composer, improviser and producer Weasel Walter.
Peter Evans is an improvising trumpeter who specializes in free improvisation and avant-garde music.
Mary Halvorson is an American avant-garde jazz composer and guitarist from Brookline, Massachusetts.
Tim Dahl is a professional electric and double bass player, vocalist, keyboardist and composer living in New York City. He is best known as the bass player of the noise-rock band Child Abuse and Lydia Lunch Retrovirus. He also writes and performs for the jazz ensemble Pulverize The Sound.
Live at WNUR 2-6-92 is a live album by The Flying Luttenbachers, released in 1992 through ugEXPLODE.
Constructive Destruction is an album by the Flying Luttenbachers. It was released in 1994 by ugEXPLODE.
Destroy All Music is the second album by The Flying Luttenbachers, released in 1995 through ugEXPLODE.
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Roulette of the Cradle is an album by German jazz saxophonist Ingrid Laubrock, which was recorded in 2014 and released on the Swiss Intakt label. It was the third recording by her Anti-House quintet, the first band that she formed on her relocation to New York with guitarist Mary Halvorson, pianist Kris Davis, bassist John Hébert and drummer Tom Rainey. They are joined by clarinetist Oscar Noriega on two tracks.
Jeb Bishop is primarily known as an improvisational jazz trombonist. However he occasionally plays other instruments on both jazz and rock recordings as noted.
Jessica Pavone is a New York-based violinist, violist and experimental composer. Her jazz-and-classical-inspired avant-garde music combines elements of improvisation and composition.
Damon Smith is an American free improvising bassist. He has worked with Cecil Taylor, Peter Brötzmann, Marshall Allen, John Tchicai, Elliott Sharp, Chris Cutler, Fred Frith, Jim O'Rourke etc.
Ava Mendoza is an American guitarist, vocalist, and composer.
Jon Irabagon is a Filipino-American saxophonist, composer, and founder of Irabbagast Records.
Relative Pitch Records is an American independent record label specializing in free jazz and avant-garde jazz, free improvisation, and experimental music. Run by Kevin Reilly, Relative Pitch has been ranked among the top jazz record labels in The New York City Jazz Record and DownBeat year-end lists, and praised by publications and organizations including The Guardian, NPR Music, The Brooklyn Rail, and in Bandcamp Daily's label profile, "Relative Pitch is Built on Enthusiasm for Experimental Music".