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about

The search for an inspired and compassionate collaborative partner can be an oft-discouraging and arduous pursuance. To find someone who shares a near-psychic responsiveness to the turbulence and stability of the performance seems an even more rare occurrence; nevertheless, guitarist Hal Lambert and percussionist Mitchell Mobley, both residing in Baton Rogue, inevitability linked up on social media after Lambert’s request for experimental comrades was met with only Mobley’s reply.

Compellingly and almost preternaturally, the two shared an intuitive eagerness in dismantling the conventional rules of how to approach their chosen instruments. Conveying the radicalism of fellow guitar desconstructionists like Keith Rowe and Kevin Drumm (one should never forget the renegade experimental guitar masterpiece that was his 1997 debut album), Lambert manipulates his axe with screwdrivers, floor scrapings, and the unruly bursts of electricity transmittted from his pickups. Mobley by turn dispenses with a conventional drum kit in favor of a disparate assortment of resonant objects: glass jars, knives, saw blades, cymbals, and bells among them. Their CD LA Spring is the rewarding outcome of this reciprocation of ideas, both players charging ahead in syncronistic noise.

The individual pieces, all untitled, vary in outcome and avenues. The opening track, the longest at over 13 minutes, sees a trembling guitar swash rise into no-wave violence, with the bowed metal eliciting shrill disturbance underneath the a clattering rain of metal and bells. The following improvisation almost recalls a found field recording of a clanking factory, Lambert’s minute guitar treatments wafting like ghostly mechanized hums within Mobley’s brushes and bows. Another excursion echoes this post-industrial specter, with Lambert’s harrowingly dense guitar drones pushed forward alongside Mobley’s prepared kit, the resultant sounds transforming into a pull between militaristic fire and free jazz catharsis. The thoughtful awareness of amplification and intensity has a bracing sophistication; the ability of both players to skillfully excel in both uproarious and placid states reveals talents few players ever unearth.

The focused probe into abstraction in these diverse improvisations tethers together the ephemeral boundaries drawn between music and pure sound; the landscapes and realities created within Lambert and Mobley’s universe accentuates their unique connections to their instruments. Memory and experience are blurred amid these haunting sounds: one may recall tangible places, yet they seem to exist within a consciousness far outside our terrestrial space. Lambert and Mobley revel in scrutinizing exhaustively-held conventions, generating introspective escape into territory we’ve yet to completely fathom.
- Paul Haney



Recorded at the Geranium house February - March 2019.

Guitar/Amp/Effects - Hal Lambert
Percussion - Mitchell Mobley

Tentative Power - TP05

Released May 19, 2019

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released May 19, 2019

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Tentative Power Baton Rouge, Louisiana

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Operated by Hal Lambert

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