While Brent Gutzeit was an active member of multiple bands (including Pencilneck and Liminal,) he also recorded and released music under the moniker Wheaton Research Labs—shortened soon after to just Wheaton Research. The solo project, which started in 1992, released its debut tape Sean Wood Is a Genius in 1995 on Gentle Giant Records.
According to Brent, Wheaton Research was based on experimentation with "recycled cassettes." To paraphrase his process, he would play tapes through his stereo and record them on his boombox then repeat the relay x number of times. The result would take the sounds from the original tapes, compress them and thus warp and distort them—all while accumulating layers of ambient noise.
Sean Wood is not currently available to break down, but the contemporaneous Davison 1995gives an idea of the kind of experiments Wheaton Research was concocting. The pre-processed tapes could hold any type of sonic material including field recordings, room tone, live performances, or singular sounds such as a motor, a fan or a bass drone. And there doesn't seem to be an arbitrary number of times each tape might be re-recorded. This results in a variety of levels of distortion that can range from simple crackle that fills in the hum of a room to speed changes that can warp a drone into something more melodic. Every track is at the same time familiar yet off-putting; taking recognizable sonic imagery and warping the image into having an unfamiliar character. What new character that might be is entirely on the listener.
Also, I recommend checking out the video below from Brent Gutzeit's documentary/live footage/musical compilation project The Miracle of Re-Creation released circa 1997.
Here is the discography surrounding Wheaton Research Labs's debut tape:
The band names might change but the lineups become familiar across the early releases by Gentle Giant. From Liminal, the adjacent rock band Pencilneck held over members Thomas Deater, Brent Gutzeit and Todd Carter while adding Rob Stimpson from the Kalamazoo hard rock band Fatsack and local studio engineer Mike Schuur. Pencilneck released their tape Ohranger in 1994 on Gentle Giant Records.
Despite the familiar lineup, Pencilneck conceives an entirely different mode of noise than Liminal's. Brent Gutzeit's "sound environments" make way for an only slightly more traditional handmade 18-string bass. Becky Cooper and her flute make only a single track's guest appearance. Those two elements are the foundation of Temple Music's meditative ambience, so a new band name reflects the sonic change. Without the tumbling cacophonies from Gutzeit's creations and Cooper's ethereal flute, gone also is the improvisational structure that held Liminal's compositions together. Now with Pencilneck, the noise seems less arbitrary and the fellow players feel less like adornment. Pencilneck, instead, explores their collaborative potential via a sort of free jazz fusion.
On the tape's opener "Suberbole," Pencilneck sets up a traditional structure where the guitars and bass and saxophone (Mike Shuur) explore the textural walls of sound their instruments can create. That is then all held together rhythmically by the funk-style drumming. The song plays like a playful riff on the alternative rock sounds of the era, and if the rest of the album stayed the same, would've made for a clever contemporary music commentary. But 23 other songs on Ohranger, go in 23 other directions. Punk, sludge, metal, grunge and even anti-folk all become occasional ingredients and thus fodder for Pencilneck, but it's all byproduct to what the band is actually doing: playing a game.
According to Brent Gutzeit, Pencilneck "was a rock band...that played game structured improvised pieces, similar to John Zorn's Cobra game. We would use hand gestures to signal changes in the song as we played." Besides the musicians, nothing stays the same from song to song. Each composition is effectively a randomized creation through a recombination of players, time signatures, or any other musical element. The results are myriad: "wannabe" has the closest structure to an avant-garde jazz number; "clothed city" traffics multiple time signatures and rhythms for some sonic congestion; "sock" is a devolving rock song that miraculous reforms through the stabilizing force of the drums and bass; and "pillow talk" hews closest, with its metronomic melody, to a piece Liminal might produce.
The album as a whole is a trove of musical potential: what music traditionally doesn't play but could and does here. It challenges traditional musical aesthetics and expectations and keeps the mind reeling trying to keep up with all you've never heard before...even if at an hour and twenty minutes, it becomes exhausting.
Special thanks again to Brent Gutzeit for sharing a copy of Ohranger and for answering my questions about Pencilneck.
Here is the discography surrounding Pencilneck's tape:
The trio of Thomas Deater, Brent Gutzeit and Blaine Townsend that played together on the Linkage track "Ugly Bell Suite" performed under the moniker Muzak for Llamas while at Western Michigan University. The band, formed to highlight the sculptural instruments made by Gutzeit, would expand, shift lineups and become Liminal. Liminal released a cassette No. 1 (Construction) in 1993on Deater's Gentle Giant Records.
Unfortunately, I couldn't find a copy of this cassette nor any of the music thereon. But in 1999, Gutzeit's own label BOXmedia did release Temple Music, a 1993 Liminal live performance held in WMU's Rotunda Gallery. It helps fill in what the cassette might have sounded like keeping in mind the band's fluid lineups. On Temple Music, the nucleus is, of course, Gutzeit's instruments. They are uniquely percussive—in ways only handmade instruments can be—outside of any classical and familiar resonances. His instruments are also sculpted with the live space in mind and can sound cavernous as the tones emitted tumble and layer, reverberating in the room and against themselves. The result is an entropic ambience whose amplitudes level anywhere between balm and bombast.
Becky Cooper's flute, playing Eastern-influenced tonalities, is the other omnipresent sound and only melodic ingredient on the recording. She adds a meditative layer that elevates the music to something more mystical. Thomas Deater (guitar,) Michael Hartman (percussion,) Josh Remy (synthesizer) and Todd Carter (sampler) further accent the soundscape and bring structure to the, only somewhat, controllable chaos at the music's center. Together, the improvisations build a space greater and more strange than a gallery; akin to a temple, yes, but also revealing of the fantastic therein: the liminal, you might say.
Temple Music is available for purchase here. Special thanks to Brent Gutzeit for his generosity in sharing these albums and answering my questions.
Here is the approximate discography surrounding Liminal's cassette:
No. 1 (Construction)
Temple Music (1999 release of a 1993 live performance)
04.16.94.21.24.20 (1995 track from The Miracle of Levitation compilation)
Kalamazoo 04.16.94 (1997 track from The Miracle of Re-Creation compilation)
In the late nineties, Bill Groot and Brent Gutzeit founded BOXmedia and focused on releasing albums from Chicago's experimental and improv music scenes. Gutzeit had been a presence in the scene for a few years but started performing in Kalamazoo as a student at Western Michigan, playing with his college friend Thomas Deater. Thomas Deater self-released his debut album Linkage in 1992 on his own Gentle Giant Records.
The first three songs each uniquely set the tone for the cassette. The first "Violins" is Deater on guitar that's then run through tape manipulation (speed changes, reversing) to evoke the sonic feel of the title instrument. The second,"Ugly Bell Suite," is a live performance with Blaine Townsend also on guitar and Gutzeit on instruments of his own making (credited as "woodstrings" and "metalstrings" by Deater.) The song's title also evokes another instrument to the same effect, achieved this time through Gutzeit's arhythmic percussion and controlled noise. The third song, "Linkage," is a post-rock improvisation with another guitarist Kirk Decker. All three songs produce a common ambient sound despite the differences in means, and all three means of production end up being layered to different effects on the rest of the album in addition to finding a greater structure through more rhythmic foundations.
The album is available for purchase here. Special thanks to Brent Gutzeit for his generosity in sharing these albums and answering my questions.
Here is the discography surrounding Thomas Deater's debut album:
Josh Abrams juggled playing bass for The Roots in Philly—busking, doing open mics, recording, the like—with school at Northwestern. After graduation, he would stay in Chicago where he became a notable presence in both the jazz and improvised music scenes. After Organix, his next full album recording was Town and Countrywith his band of the same name. The independent music label BOXmedia released the album in 1998.
Town and Country describe their sound as "back porch minimalism." Their use of "minimalism" places them in the modern classical tradition. It's audible in how they construct their songs through a layering of drones and melodic repetition. The "back porch" implies a folk approach to the classical. It starts with the primary instrument choices: two bass (played by Josh Abrams and Liz Payne,) guitar (played by Ben Vida) and especially the harmonium (played by Jim Dowling.) The "back porch" also brings into account the band's improvisation, unrestricted by rigid sheet music, and the embrace of imperfection. The band's improvisations are slight and can be as simple as one of the drones shifting notes or as rare as the introduction of an unexpected melody amidst the layers—all in search of new sonic combinations. And error, too, can lead to new paths.
Of course, drone music is not for most people, but the "back porch" quality is an invitation to come and go as one likes or even join in. After all, the "back porch" is also a space as can be the music. This music has a flexibility to it. It can occupy a space but also warp that space or bend to it. Because the music is ruled by its minimalism, it becomes a deep exploration of the qualities of each instrument, their breath and texture and their amplitude. The musical space these explorations create can be loose enough to welcome natural sounds (especially if played where their descriptor implies) or dense enough to drown all thought in. The distance traveled from one to the other is the tension the music thrives on.
I think I'd like to listen this album again, outside, on a rainy day.
Here is the discography surrounding Town and Country's debut album:
Sonance Quarry (1997 compilation songs by Odradek and Belokwa String Ensemble)
Town and Country
Town and Country - February 5, 1999 BOXmedia Festival
The best and most tasteful decision Jimmy Fallon ever made was hiring The Roots to be his Tonight Show band. Considering the history of music on the Tonight Show, the bands—meant to entertain and hype audiences leading up to shoots and during breaks—have all been versatile with popular song. Only Branford Marsalis, who played what he wanted, bucked the job description. Kevin Eubanks and his band brought rock, R&B and pop into the show's repertoire, and The Roots could do all that and bring in, naturally, Hip Hop. Even before hiring them, Jimmy envisioned The Roots playing a bigger role than just as a hired audience to laugh at his jokes. In a call back to Carson, Jimmy features their skills regularly in sketches, and games and musical routines. The best thing about Jimmy's tenure is his palpable camaraderie with The Roots, a relationship not prominent between host and band since Carson and Doc. "Retiring" to the regular job for Tonight came after nearly twenty years of albums and hard touring. The Roots self-released their debut album Organix in 1993.
At first, The Roots found it difficult to get signed. Not gaining any career traction in their native Philadelphia, they moved to the UK and toured Europe and had to self-produce their debut. As such, Organix lacks studio polish. Instead, The Roots were still finding their identity and sought to chronicle that growth on record. Ahmir "?uestlove" Thompson on drums and Josh "Rubberband" Abrams/Leonard "Hub" Hubbard on bass are the album's beat and melody in an radical embrace of stark minimalism that has a flexible affinity with jazz, funk and R&B rhythms. Guitar and keyboards are only occasional touches to get the listener moving a bit. Overtop is almost always Tariq "Black Thought" Trotter who delivers breathless rhymes as the primary emcee. He can fall into similar rhythms and rhyme schemes from song to song but delivers with undeniable power and cleverness.
In this freeform chronicling of artistic growth, each song owes a lot to The Roots's Hip Hop influences with the jazz-attuned Tribe being undeniable. They try a few times to replicate their own versions of earlier alternative rap hits like "Can I Kick It?" or De La Soul's "Buddy." Songs like "Grits" and "Pass the Popcorn" allow lyrical play with a rather undefined metaphor but don't have the same ear for a single. Despite the spare instrumentation, the rhythm section already has a deep well of musical references to pull from, incorporating them into songs in a manner halfway between sampling and jazz quotations, and Black Thought is just as willing to rap as to try slam poetry or scat. The experimentation can be just as silly as serious like with a bass line call back to the "Inspector Gadget" theme song or just a 14 minute-long, "Longest Ever," posse cut featuring the Foreign Objects, The Roots's attempt to create a hip hop collective akin to the Native Tongues (Tribe, De La, Jungle Brothers,...) "Good Music" is the album's musical and lyrical peak opening with a nod to underground radio world-building, incorporating storytelling and band lore, using a clever echo-like round in the chorus and breaking down into a fun time.
I don't think I really needed to say all this because Black Thought says it all in "Leonard I-V":
And I speak up loud so you can hear me yo
Is it a Tribe Called Quest? Is it the JBs?
We're cool like that, but yo we're not the DBs
It's the group, The Roots, with the organic rap style
Plus the groove from the rhythmic rhyme file
Umm...I'm a big fan of the Soul
But I'm trying to get this Roots shit in control
So I hate when people say
"Umm—you remind of me De La Soul,"
'Cause I got a soul of my own, and umm
Yo, The Roots are taking big steps and
You can listen as we progress in
Sometimes I might come to teach a lesson
Other Times it's with a crazy question like...
Yo, whatever happened to Leonard Parts One to Five?
The result is a testament to Thompson and Trotter's pursuit of a destiny written in song. Shaggy, fun, full of potential, devoted and indebted: The Roots are trying a little bit of everything to start. They don't know quite who they are yet but they know where to go to find out and we, the listeners, get to witness the first steps.
Thus ends the year-long-plus journey through the audio history of The Tonight Show. Thank God. Wouldn't have done it in hindsight, but I...really wanted to cover The Roots.
Here is the discography surrounding The Roots's debut album:
Organix
"Pass the Popcorn" by The Roots
"Essawhamah?" by The Roots
Questlove Remebers When Jimmy Won The Roots Over
Know Your Roots with Questlove and Tariq "Black Thought" Trotter
Jimmy Fallon, The Who & The Roots Sing "Won't Get Fooled Again" (Classroom Instruments)
The only person to really benefit from the Tonight Show's Leno/Conan/Leno hosting shuffle was Jimmy Fallon. After a six-year stint as one of SNL's most popular cast members and a misguided turn as a film star, Jimmy Fallon fell into Conan's open seat on Late Night and thus became the natural heir to the Tonight Show desk. (Unlike for Letterman and Conan, Fallon's Late Night tenure felt more like on the job training for future, bigger stakes.) Leno lasted four more years before retiring. Jimmy took over as host of The Tonight Show on February 17, 2014 and has been behind the desk since. Before he was on TV, Jimmy Fallon was a stand up comic. While he was on TV, he released his first comedy album The Bathroom Wall in 2002 on DreamWorks Records.
Jimmy Fallon's hefty bag of impressions impressed Lorne Michaels enough to hire him for SNL where he was a valuable utility player: good for celebrity lampoons and silly-voiced bits. His bag also includes musical impressions; he can break out a guitar and a convincing Dave Matthews yowl. So, the album is naturally designed around this skillset—however far that will carry—and is made up half of musical genre parodies and half of his pre-SNL stand up material. The anchoring routine is also divided into halves. The first half is a run of impressions of celebrities vying to be the spokesman for Troll Productions Inc, makers of Troll Dolls. The second is a run of musical parodies of bands vying to write a jingle for Troll Productions Inc. Robin Williams, Jerry Seinfeld, Gilbert Gottfried, then U2, the 4 Non Blondes, R.E.M. et al switch in at breakneck speed, inspiring the awe of recognition. and leave before any one voice or song gets stale and before the audience catches on that the bit is stupid and bereft of actual jokes.
Like any musical parody album, the songs jump through a variety of genres and "parodies" them by contrasting expected lyrical content with actual lyrical content. What if a punk band sang about a snowball fight? What if the Beastie Boys couldn't hoop? What if Prince was an "Idiot Boyfriend"? The characters in these songs are all the same pathetic white boys and the jokes detail exactly how pathetic. Mark Ronson and Justin Stanley handle the production to at least give the songs a professional sheen that helps sell the parodies. But they weren't in the room for the worst musical bit on the album, the closer. A live bit reverse engineered to show off Jimmy's ability to sing off key...I mean, sing popular songs in a way that is vaguely familiar to the originals. The conceit: you can play MC Hammer's "Hammertime" under any 80s pop song. Sure, you can do that, but it doesn't work. It's also not a joke. Good crowd work, I guess.
Back to the stand up material because Jimmy Fallon is more than just impressions though impressions sneak in anyway (see the unfortunate "Chris Rock Was My RA" bit.) The material is all college jokes—roommates, community showers, mini fridges, etc.—and probably been the filler to his routine for nearly ten years at this point (and definitely five years since he was performing the set a year before joining SNL.) But college jokes are timeless especially when delivered to college audiences. On the recording, the college kids are slightly drunk and very generous and unwittingly give voice to the flaw running through Jimmy's whole routine. Impressions and jokes are greeted alike with cheers, not laughs. But Jimmy's a nice guy and the audience wants to have a good time with him and wants him to succeed. So does Lorne, so do NBC executives, and so do his agents. Turns out, doing only one thing well can take you pretty far.
Here is the discography surrounding Jimmy Fallon's debut album:
The Concert for New York City (To Benefit the Robin Hood Relief Fund) (2001 compilation song)
MTV TRL Christmas (2001 compilation song)
The Bathroom Wall
Hammertime (2002 promo single)
Idiot Boyfriend (2002 promo single)
Selections from The Bathroom Wall (2002 EP)
Jimmy Fallon Stand Up
Jimmy Fallon's Late Night Debut
Jimmy Fallon Hosting the 2002 MTV VMAs
Jimmy Fallon Interview Before Taking Over Late Night
Jimmy Fallon's Tonight Show Debut Monologue (delivered as if it's his last)
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