Boris Hauf / Martin Siewert / Christian Weber / Steve Heather - The Peeled Eye
I'm playing and really liking this at the minute on Tidal, considering a vinyl purchase.
This pan-European supergroup also adopts its own aesthetics of sonic terrorism, inspired by the late guitarist Sonny Sharrock who wanted to “find a way for the terror and the beauty to live together in one song”. This, unfortunately, only release of the doom-jazz, noise-core The Peeled Eye - first issued as a limited edition of 300 yellow vinyls, then later on disc and as a Bandcamp download option - featured four unique, experienced improvisers: British, Berlin-based, baritone sax player Boris Hauf, known from his Chicagoan group that released Next Delusion (Clean Feed, 2012) and who also runs Shameless Records; Viennese guitarist Martin Siewert, known from the groups Radian, (Fake) the Facts (with Mats Gustafsson), and Trapist, and who has played with Hauf in the minimalist electro-acoustic group efzeg; Swiss electric bass player Christian Weber, known as a double bass player who collaborates with American sax players Oliver Lake and Ellery Eskelin or Swiss Omri Ziegele but also experiments with German turntables player Joke Lenz or Viennese vocal artist Christian Reiner; and Australian, Berlin-based drummer Steve Heather who also played in efzeg and recently in Ken Vandermark’s Shelter quartet.
The interplay of the democratic The Peeled Eye is urgent, dense and heavy, bursting with impossible rushes of intensity and sheer power, as if all four musicians had tons of ideas too little studio time. Still, the frequent confrontational, violent onslaughts of Hauf, Siewert, Weber and Heather flow with great focus and tight coherence, sometimes even enjoying massive, addictive pulses, as of Sharrock’s supergroup Last Exit and often its raw interplay brings to mind the naked brutality of Sharrock’s Last Exit partner, reeds player Peter Brötzmann. But this quartet can do even more. “Heavy Quarters” suggests a threatening, enigmatic soundscape that can fit easily in a gory horror film. “Diiiiisko” matches organically skronky noise rock with screaming free jazz and “Nog” offers a delicate guitar solo between the explosive, distorted eruptions. Real shame that this is the only release of this great quartet.