Adam Bohman prepared strings, amplified objects
Keisuke Matsui electric guitar, electronics, objects
Graham MacKeachan double bass, metal, plastic


Tensile strands and strings pulled to breaking
Obtuse in its whimsical yet restless skitter
Metallic scrapes, squeaks, and shudders reign supreme
Mazelike, winding, spacious
You can almost hear the absences in between

Rigidity made fluid
Oscillating roles: strings, objects, electronics
The tactile textures of tautness and tension

Triangular configuration
Rips, rattles, shakes, clatter
Intimate despite its alienness
Open and closed spaces

[Jack Davidson]
noisenotmusic.com


"It squeaks, rubs, irritates, moans, vibrates, swells: radical noise in its finest manifestation. Adam Bohman: prepared strings, amplified objects - Keisuke Matsui: electric guitar, electronics, objects - Graham MacKeachan: double bass, metal, plastic. Keisuke Matsui was still unknown to me, but who doesn't know Graham MacKeachan? He plays an essential role in the London scene: in his Hundred Years Gallery space, Graham programs weekly concerts of improvised and experimental music with a very open mind, literally putting himself at the service of all musicians involved in this music. Tommy Rot Trio is undoubtedly the most musically Bohman-ian of the albums with Adam Bohman, the improvising sound artist whose instrument is a table amplified by micro-contacts connected to a small guitar amp and covered with a violin carcass and ropes stretched over plastic or small metal boxes, springs vibrating over a beer glass or a cigar box. There are forks, spoons, blades, credit cards, rubber bands, a bow, a file, rods, debris, tiles, all these objects have a role to play in a ceremony of friction, scraping and vibration. Adam found two acolytes in phase, focused on inserting themselves into the dynamic using similar processes in the delicate touch of the electric guitar and a phantom double bass. We can clearly distinguish the vibrations of the six strings of Keisuke Matsui muted, sizzling, rustling, titillated by expert knuckles and an admirable sense of listening. I often wonder who does what, because there is a beautiful unanimity to multiply and activate the sound resources, sometimes crossed by discreet drones or rumbles of indecisive murmurs. The apotheosis of cool noise, kept under control, of the full scratching of an astonishing sound diversity, playful in which it manages to get agitated at times, only to change the mood like in the finale of the Revenge of the Killer Mermaids . And what a musical understanding between each of the protagonists!!"

[Jean-Michel van Schouwburg]
orynx-improvandsounds.blogspot.com