#andrew forrell

Fisher’s voice is a commanding presence throughout, and the call-and-response construction of many of the songs provides a unifying motif. In the adrenaline-fueled rushes of “Something Wrong” and “Good Man,” the band rediscovers the power that made their first two albums so compelling. But it’s the engagement with collaborators that provides the most interesting moments. Rapper Big Rube calls for resistance over a minimal orchestra swell and massed distant voices on “As it Resounds”; billy woods and Backxwash speak directly to police violence and the manipulation of white grievance over a skittering drum machine and piano motif on “Bite Back.” Mark Cisneros ties the “Out Of Style Tragedy” of domestic weaponization to victory of political and financial self-interest as the band chants Sun Ra’s “Nuclear War” in the background. Jae Matthews provides the female counterpoint to Fisher and Samuel T. Herring on the lacerating “I Can’t Stand It.” LaToya Kent speaks from the perspective of a black mother: “Burying her feelings with the men she bore to life/Her heart heavier than the body.”  On “An Echophonic Soul,” DeForrest Brown, Jr’s electronics and Patrick Shirioshi’s sax provide a keening background to an invocation of the other dead in the electric mist.

The record closes with Lee Bains III intoning, “When we die/The neighbors will bring casseroles/Drag shows will be held in our honor/… /The marchers in the boulevard will take their knee/Raise their fist/Drop their face/Silent in the midday traffic/Like a stone in a quick river/When we die, our beloved, our kinfolk/Fear not, we rise.” The song delivers a modicum of hope amid the bloodshed and culture war bullshit that drives it. At a time when black, female and queer lives and agency are being erased and their histories whitewashed, the diversity of voices and styles gives Shook astonishing power as an expression of possibility. Algiers may not have the answers but they’re damn sure asking the right questions. The material is here, heed the call.

As a sidenote, in January Queens producer King Vision Ultra released Shook World, a mix tape built on stems from Shook (supplied by Algiers) and his own sound archive featuring guests such as DJ Haram, ELUCID, Dreamcrusher and Dis Fig. It is envisioned as a companion piece rather than a remix, a conversation which broadens the scope of both records. It is well worth hearing and can be found here: https://algierstheband.bandcamp.com/album/shook-world-hosted-by-algiers

Born in Ithaca NY, Eastman was a dancer, vocalist, performer, pianist and composer whose career straddled the New York uptown world of contemporary minimalism and the downtown world of jazz and mutant disco. He performed with the likes of Morton Feldman, John Cage and Pauline Oliveros and gave lauded recitals at Carnegie Hall and the Lincoln Center. He later collaborated with such avant-garde luminaries as Meredith Monk and Arthur Russell. Eastman’s voice features on Russell’s famous Dinosaur L album 24-24.  

As a queer, black man Eastman became increasingly alienated from the world of the conservatory and the reception of inflammatory pieces such as “Nigger Faggot” and “Gay Guerilla.” After being evicted from his New York apartment Eastman endured a long period of homelessness and addiction. His belongings including his scores were impounded or destroyed. He died alone in Buffalo much of his work seemingly lost to the world.  

His peer and fellow composer Mary Jane Leach has preserved and archived much of his hitherto believed permanently lost work and has been a passionate advocate of his music. Younger composers and musicians have discovered his work and begun performing and recording Eastman’s work and restoring it to its rightful place in the canon of minimalism and avant-garde American music.  

“Femenine” is built on minimalist tropes but is almost pastoral in its delicacy and occasional trepidation. The vibraphone anchors the 67-minute piece with a repeated rhythmic motif upon which Eastman builds cyclical themes with the other instruments. Sleigh bells join early to propel the music. The slow, organic build of piano and cello adds bottom end as the violin and flutes bloom above. As the piece proceeds Eastman adds to each theme elongating the cycles and immersing the listener in sound. Eastman’s method often relies on input from the musicians performing his works and in Apartment House his finds an ensemble with the skill, patience and sensitivity to express the range of emotions and complexities in “Femenine.”  Eastman is not afraid to thumb a nose at the strictures and structures of minimalism. There is humor and disquiet here at times but the overwhelming feeling is of wonder and joy.  

Apartment House’s resurrection of “Femenine” is a timely reminder of a great compositional talent who through the advocacy and work of some has been rescued for many.