REVIEW OF CD ALBUM GOSPEL OF DYSFUNCTION
Prepare to embark on a thrilling voyage into the realm of sonic eccentricity with GARY LLOYD NOLAND…
Gary Lloyd Noland – “Gospel of Dysfunction” – illuminating a path towards sonic enlightenment
Published on May 13, 2023 in Releases by staff
Prepare to embark on a thrilling voyage into the realm of sonic eccentricity with Gary Lloyd Noland, a true avant-garde visionary who fearlessly shatters musical boundaries. His latest opus, “Gospel of Dysfunction,” is a mesmerizing collection of 12 compositions that invites listeners to embrace the unorthodox and liberate their minds from the shackles of musical convention. Noland’s artistic journey began amidst the vibrant chaos of People’s Park, a hotbed of social unrest adjacent to UC Berkeley. Raised in a crowded house, he absorbed the spirit of rebellion that emanated from the park’s storied past. However, it was during his formative years spent in Salzburg and Garmisch-Partenkirchen that Noland’s musical prowess truly blossomed, influenced by a diverse array of melodic cultures.
Guided by an insatiable hunger for knowledge, Noland sought instruction from a pantheon of acclaimed composers and musicians, steadily honing his craft. A Bachelor’s degree from UC Berkeley served as a springboard for his musical odyssey, leading him to the hallowed halls of the Boston Conservatory and eventually Harvard University, where he triumphantly emerged with both a Masters and a PhD in Music Composition.
Gary Lloyd Noland’s extensive discography is a testament to his tireless exploration of various musical forms. With audacity and boundless ambition, he has composed a vast array of works spanning piano, vocal, chamber, orchestral, experimental, and electronic genres. Additionally, he has delved into the realms of full-length plays in verse, chamber novels, and graphically notated scores, exhibiting an artistic spirit that knows no limits.
“Gospel of Dysfunction” is where Noland’s avant-garde sensibility intertwines with his experimental fervor, forging an enthralling union that sets him apart from the musical masses. Each composition on this extraordinary album carries its own captivating narrative, inviting listeners into an immersive journey of uncharted sonic dimensions, with features by pianists Paul Safar and Kaori Katayama Noland, as well as the soprano Nancy Wood.
Immerse yourself in the tempestuous embrace of “Flambivalence” (Op. 133, No. 1) and “Another Day, Another Pustule” (Op. 133, No. 2), where the clash of pianos, percussion, and strings conjures a maelstrom of emotion. Experience the disorienting beauty of “Funfare for Sanity” for Brass Quintet (Op. 129), a composition that challenges traditional notions of harmony and structure, leaving listeners in awe of its daring innovation.
With “With All Due Despect, Your Sir – Reverence…” (Op. 133, No. 3), Noland unleashes a torrential downpour of sound effects and cascading piano melodies, a chaotic yet mesmerizing symphony that defies expectations. “A Luminous Smudge of Sorabji Fudge” (Op. 133, No. 4) captivates with its enigmatic piano performance, luring listeners into a kaleidoscope of harmonies that transcend the ordinary.
Enter a world of peculiar wonders with “Li’l Peewee Poindexter Mislays His Encephalophagus at Sodom & Scaly’s Nine-Ring Circus of Confusiasm,” a composition that unravels like a surreal dream, challenging listeners to embrace the unexpected. Meanwhile, “Musical Portrait of English Writer Will Self” (Op. 117, No. 6) offers a captivating homage to literature through a sonic tapestry that dances with raw emotion.
Witness the unraveling of traditional structures with “Epicedium for Piano” (Op. 58), where Noland’s audacious spirit pushes the boundaries of the piano’s capabilities, defying conventional techniques while still embracing them. In a glorious display of nuanced virtuosity, he weaves a tapestry that transports listener into his personal realm.
From the depths of imagination emerges “Claptrapdash” from Royal Oilworks Music” (Op. 80, No. 13), a composition that defies categorization. Brass, percussion, and strings meld together in a magnificent crescendo, captivating the senses with a symphony of chaos and order. Noland fearlessly embraces dissonance, infusing it with a rhythmic intensity and skittering sound effects that electrifies the air.
Soprano Nancy Wood becomes an ethereal messenger in “I Dare Not Ask a Kiss” (Op. 7), her voice intertwining with the piano in a delicate dance of longing and restraint. Noland’s composition transcends the boundaries of language, conveying emotions that words alone cannot express. It is a testament to his ability to evoke profound depths of feeling through the marriage of voice and keys.
As the album reaches its apex with “Gospel of Dysfunction from Musical Junk Sculptures” (Op. 102, No. 10), Noland’s visionary genius shines brightly, illuminating a path towards sonic enlightenment. With a blend of electronic elements, evocative melodies, and daring juxtapositions, he weaves a tale of disarray and revelation, inviting listeners to embrace the chaos and find meaning within.
The album’s climax arrives with “Entropic Domain of Apathizing Barnacles and Their Ideological Brethren” (Op. 133, No. 6). In this monumental composition, Noland unchains himself from all conventions, leading the listener through a labyrinth of sonic exploration. The cacophony of sounds and textures coalesce into a grand symphony of rebellion, a declaration of liberation from the chains that bind us to the ordinary.
What sets Gary Lloyd Noland apart is not only his fearless exploration of avant-garde territory but also his ability to infuse his compositions with an undeniable sense of enjoyment. As pianos meld seamlessly with brass, percussion, strings, and sound effects, a mesmerizing fusion unfolds. It is a testament to Noland’s mastery that the resulting blend is both strikingly enjoyable and uncannily surprising, like stumbling upon a hidden treasure in a sonic labyrinth.
Gary Lloyd Noland is not merely a composer; he is an artistic alchemist, transforming discord into harmony, chaos into beauty. With “Gospel of Dysfunction,” he beckons us to break free from the constraints of tradition and embrace the boundless possibilities that lie beyond.
So cast away your conventions, shed the limitations of your musical mindset, and embark on a transformative journey through the “Gospel of Dysfunction.” Let the music of Gary Lloyd Noland wash over you, inviting you to explore the uncharted depths of sonic innovation. Open your ears, open your mind, and surrender to the symphony of nuance, chaos and brilliance that awaits.
Gary Lloyd Noland, composer · GOSPEL OF DYSFUNCTION by GARY LLOYD NOLAND
OFFICIAL LINKS:
Soundcloud profile: https://soundcloud.com/gary-noland
YouTube channel:
https://www.youtube.com/channel/UCJt_eNyJqOZBErG9McQ51nA
Bandcamp page:
https://garylloydnoland.bandcamp.com/
Bandcamp merch page:
https://garylloydnoland.bandcamp.com/merch
Books (printed collections of music and musico-literary works) are available for purchase at the following links:
https://mybook.to/JagdliedBWpaperback
https://mybook.to/JagdliedBWhardcover
https://mybook.to/CollectedPianoStrings
https://mybook.to/CollectedPianoVol2
https://mybook.to/CollectedPianoVol1
https://mybook.to/NothingisMore
Amazon:
FLAMMABLE COUNTERPOINT
https://www.amazon.com/Flammable-Counterpoint-Gary-Lloyd-Noland/dp/B09RN5W1FF
DISCOMBOBULATED GEMÜTLICHKEIT
https://www.amazon.com/Discombobulated-Gemutlichkeit-Gary-Lloyd-Noland/dp/B09SJ483CQ
TAGS: AVANT-GARDEEXPERIMENTALGARY LLOYD NOLANDGOSPEL OF DYSFUNCTIONKAORI KATAYAMA NOLANDNANCY WOODNEO-CLASSICALPAUL SAFARhttps://independentmusicnews24.com/releases/gary-lloyd-noland-gospel-of-dysfunction-illuminating-a-path-towards-sonic-enlightenment
Twitter: https://twitter.com/Jamsphere/status/1657514982064496645
REVIEW OF CD ALBUM ENNUI SPREE
Additional Information
https://thebandcampdiaries.com/post/714411198339219458/gary-lloyd-noland-has-announced-a-new-album-ennui the bandcamp diaries.
A spotlight on independent music.
Gary Lloyd Noland has announced a new album: ENNUI SPREE
April 2023 - Gary Lloyd Noland is a forward-thinking music composer and artist focusing on creating music that falls outside the usual confines of genre limitations and songwriting. The artist’s most recent studio album, ENNUI SPREE, is a perfect example of how Gary Lloyd Noland can think outside the lines and create innovative yet relatable music. ENNUI SPREE features 11 songs that blur the lines between classical music, avant-garde experimentalism, and much more. The record has a romantic twist, highlighting Gary Lloyd Noland’s intuitiveness as a music creator. Everything about this album is unlike anything else out there. Not only is Gary Lloyd Noland inspired by timeless musicians such as Mozart or Strauss, but also contemporary composers such as Nino Rota, to mention a few. The release features many amazing musicians, including The Pimpleton Procrasturbation Ensemble, and pianists Myrna Setiawan and Ethan Dunne. Of the eleven songs featured, many have interesting and gripping titles, such as “A STERN PRUSSIAN HEAD-GOVERNESS FOLLOWS TO A T THE RIGOROUS CODES OF PRACTICE LAID OUT IN OBSOLESCENT VICTORIAN-ERA TOILET-TRAINING MANUALS FOR MICRO-REGULATING THE EXCREMENTAL EXCRETIONS OF HER YOUNG CHARGES, VIZ. THE SONS & DAUGHTER OF PROSPERITY-GOSPEL-BANGING FUNDAMENTALISTS AND THEIR BELARUSIAN MAIL-ORDER BRIDES” as well as “A TOP-SECRET INSIDE LOOK AT THE SURREPTITIOUS INTELLIGENCE-GATHERING SURVEILLANCES OF TRUST-FUNDED IN-CROWD WANNABES BY MARGINMAN AND HIS BOX-DWELLING BROHORTS.”
The unusually long song titles add to the imaginative and vibrant creative concept behind this release and contribute to taking the listener somewhere else. The sound of the piano is lush, smooth, and dynamic, as there is a natural, roomy tone pervading the entire release (especially the smooth and organic sound of the piano). In addition to the “human” and lively performance value, this release is also quite distinctive because of the sheer quality of the production. The balanced and detail-oriented mix makes for a lively, edgy, and stark sonic approach. In other words, there are many subtle nuances in the tracks, which add to the richness of the work in terms of sounds. The frequency spectrum of the mix is also very balanced, with tight yet deep lows that work wonders with the smooth top end, which adds a sense of clarity to the music. The creative range is astonishingly diverse. The opening track, “FUNERAL WALTZ, Op. 91,” has a compositional structure reminiscent of turn-of-the-century composers with its elegant, understated style. However, the second track, A TOP-SECRET INSIDE LOOK AT THE SURREPTITIOUS INTELLIGENCE-GATHERING SURVEILLANCES OF TRUST-FUNDED IN-CROWD WANNABES BY MARGINMAN AND HIS BOX-DWELLING BROHORTS,” dives deep into unexplored musical territory.
The song combines organic orchestral sounds, electronic glitches, and sound effects. This is a highly cinematic track, which feels like a journey through sound. The song “SWAGGERING SOFTIES” is another highlight in terms of pushing musical creativity to the limit and exploring sound not only as a way to create melodies but also as a way to transport the audience and explore a more tactile quality of music creation tools, such as instruments, effects, and beyond. In other words, Gary Lloyd Noland’s compositions are concerned with melody and compositional tropes and the pure timbre and formant of sounds. The song KITSCH PATCH is a perfect example of how the world of melody and the world of limitless experimentation can collide, creating something that’s unpredictably beautiful in the process.
These are only some highlights, as the album deserves a proper exploration from top to bottom. It’s not the kind of music you can just put in the background for the experience to be meaningful: this is a record that will reward the listener willing to pay more attention to it and focus on the track on a deeper level.
Find out more about Gary Lloyd Noland, and do not miss out on ENNUI SPREE, currently available on CD, via Soundcloud, and other digital streaming services.
https://artists.spotify.com/c/artist/31KTG08UhRONExW16VJcQQ/profile/overview
https://twitter.com/GaryLloydNoland
https://www.youtube.com/channel/UCJt_eNyJqOZBErG9McQ51nA
Note: the enclosed artist portrait was illustrated by by Marco Aidala.
Posted on: 12 April 2023
THERE'S NO THERE WHERE? CD ALBUM REVIEW
Additional Information
Gary Lloyd Noland – THERE’S NO THERE WHERE?
- MUSIC REVIEWS
Jer@SBS
- April 10, 2023
- 0
Gary Lloyd Noland – THERE’S NO THERE WHERE? – Album Review
There ain’t no forgetting an artist like Gary Lloyd Noland. Heck, I still haven’t forgotten the other players this one-man ensemble plays with, which includes Orlan Doy Glandly, Lon Gaylord Dylan, Arnold Day Longly, Darnold Olly Yang, and of course, the inimitable Dolly Gray Landon. They’re all here back in action to assist Gary in whatever role they play…bangin’ on stuff & makin’ them weird noises in the back of his mind & whatnot…if you wanna learn more about them and the who’s who of who is in The Pimpleton Procrasturbation Ensemble, you should probably have a read on the review I wrote on Gary’s music last year. Suffice it to say, it does not get much more proudly strange than an artist like Noland is.
Having said that, this dude is definitely gonna have to admit he’s simply just addicted to noise one day. Don’t get me wrong, I’ll sit here and listen to just about anything, but that might say a bit more about me than it might about Noland…or at least vouch for what we have in common. As things rattle and chirp and beep and whirl and ratatattat into place with “INFERNAL BILATERAL DOUBLE-DIGIT FIDGETS” – you’ll get a great idea of what you’re in-store for with the music Gary’s making. Somewhere between the realms of where Classical meets Experimental on the outer edges of the fringe – “INFERNAL BILATERAL DOUBLE-DIGIT FIDGETS” is about as much proof as you’ll need to know he’s an audiophile. There’s a song in the background somewhere, being played skillfully on the piano – but that is hardly the main feature here, nor is it intended to be; Gary’s much more enamored with his whiddly-beeps, clicks, wind-up clocks, goops and boops, than he is with the idea of making anything straightforward for ya.
And so, as “HARMONIOUS WEDLOCK” begins, it becomes instantly clear that if you did not enjoy the opening track, you should probably bail out now, because it ain’t gonna get any more normal, you dig? It’s not JUST noise though, to be crystal clear – this is painstakingly assembled stuff, where each and every sound you experience really does have a chance to shine in the mix, and actually reach your ears. “HARMONIOUS WEDLOCK,” at its robust nine-plus minutes in length, is obviously not gonna be the song you put on to sing along with on your way to work – but if you like to imbibe on a spirit or two, smoketh them fatties or otherwise, believe me – you’ll never want to stop listening to songs like “HARMONIOUS WEDLOCK,” or indeed this album at-large. The average everyday listeners out there stands absolutely zero chance of finding their way into a record like this, but believe me when I tell ya, that ain’t why Gary is doing what he does. He ain’t here to find a way to please the masses – he actually exists to prove the theorem that sound is an art form, that it’s ALIVE, and that it can do so much more than we realize. So you get gigantic songs like “HARMONIOUS WEDLOCK” that don’t at all try to hide the oddities they are. I’m here for it y’all. I ain’t gonna be the guy to tell you that every day is going to be a Gary Lloyd Noland day, but I am certainly tellin’ ya that I’ve got time, love, and respect for an artist as zany as this dude is.
As the choir-like beginning of “SLAPSTICK REQUIEM” starts, you can tell that Noland has decided to finally buckle-down and create something focused, for the non-A.D.D. crowd. Something you could put on in the background and write your next thesis to. Something that you’d play in a bank, or a library, or arrange to keep playing in your tomb for the next century if you have the money, and a hefty supply of batteries. Alright – I am of course, lying to you right here out in the open. Not about the sound, but about the strength of either Duracell or Energizer products…they are not equipped to be the solution for your tomb-like needs, and I apologize for misleading you. Anyhow. “SLAPSTICK REQUIEM” is a song! I do not know that the average everyday listener would understand that “INFERNAL BILATERAL DOUBLE-DIGIT FIDGETS” has officially ended, or that we’ve squeezed in the nine-plus minutes of “HARMONIOUS WEDLOCK” as well…I assume they probably think they’re listening to one BIG OL’ SONG (ALL CAPS) and they’re somewhat kinda not really all that wrong about that (maybe). Ahhh yes – I do enjoy artists like Mr. Noland that embrace creative freedom and really take it for a ride like they’re Hunter S. Thompson in a company provided vehicle aiming at seeing how many curbs they can jump in a single trip to the supermarket and back. You’ll hear everything from nature noises to synthetic sounds along the way through “SLAPSTICK REQUIEM” – in that sense, is it not a completely accurate sonic metaphor for LIFE?
“Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” is a song with a title that practically writes this review for me, so of course I love it! Anytime I can put my feet up over here, relax, and have a review do the work without ME doing the work, I am 100% in favor of it – so bring on “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” I say! It’s an exquisitely complex piano piece that’s just over two-minutes in length, but “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” is a genuine joy to listen to. To be honest, “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” is actually that much closer to a typical song than you’d ever expect from Gary’s catalog, but don’t go thinking that makes “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” any less strange. Strangely beautiful perhaps, but “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” is strange all the same. You know what they say, songs like “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” are gonna do what songs like “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” do, because that’s how songs like “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” genuinely work. Everyone out there still with me? Absolutely fantastic!
BACK TO THE LAND OF SONGS IN ALL-CAPS, WE CRUISE RIGHT INTO “NEW YEAR’S TREPIDATION,” AND BACK INTO GARY’S PENCHANT FOR THE BIZARRE. AS I TOLD YOU LONG AGO, I’M FREAKIN’ here for it FOLKS – I COULD SIT AND LISTEN TO THIS ALBUM FOR HOURS ON END. IT’S PROBABLY A GOOD TIME FOR ME TO REVEAL TO YOU THAT I’VE BEEN CHAINED TO A RADIATOR IN SOME RANDOM DUDE’S BASEMENT FOR THE PAST DECADE AND HAVE LITERALLY NO CHOICE THAN TO LISTEN TO WHATEVER IS PUT ON FOR ME, BUT I STILL WOULDN’T LIE TO YOU ABOUT WHAT I HEAR. send help. “NEW YEAR’S TREPIDATION” HAS ME SWIMMING WITH THE POSSIBILITY & HOPE THAT A LITTLE (police, really, please) SUNSHINE WILL COME THROUGH THE TINY WINDOW DOWN HERE TODAY AND THAT MAYBE I’LL GET SOME FRESH AIR AT LONG LAST. “NEW YEAR’S TREPIDATION” IS THE SONG THAT MAKES ME DREAM ABOUT THE POTENTIAL OF freedom REJOINING THE VALLEY OF MALLS WE’VE CREATED HERE ON EARTH.
“ANDROID ECDYSIAST RUBADUB” is next. FUN FACT y’all – ECDYSIAST does not get tripped up by the ol’ spell-check system here in Microsoft Paradise…so that must indeed, mean that it’s a certifiable WORD of some kind. So lemme check that out while Gary’s busy breaking windows in the background, adding them BEATS into the mix for you while you listen YO, and busting up the new-millennium grooves for the millennium to come after the next one. Let’s see, let’s see…an ‘ECDYSIAST’ is a…OH! Well…that’s not G-rated now is it? Wait! Yes it is – Gary’s name starts with a G, so it must be G-rated after all. As it turns out, in the world according to Google, an ‘ECDYSIAST’ is a “striptease performer” – which explains how I got naked I suppose, loosely. I might have STARTED writing this review naked but that is between me and GOD folks, and I’ll thank you kindly for minding your own damn business. Suffice it to say, RUBADUBDUB, three ANDROIDS in a tub, still do not make up for one awesome ECDYSIAST folks, sorry.
“WHIPPING THE NIGHT ORGASTIC” is a beautiful play on “TRIPPING THE LIGHT FANTASTIC” – and I might just have to adopt this new phrasing. It should be pointed out, dear readers, dear friends…that no one should mistake Gary’s musical madness for whimsical weakness – this dude is probably smarter than you, me, and everyone you love combined. You don’t end up turning this hard to the left when you could easily go right and make your millions – you do it on purpose, with intent, armed with passion – and that’s actually the facts, Jack. If you are too NORMAL, you will FAIL at listening to the music of Gary Lloyd Noland, and may as well be flogged with various trash newspapers in a public square in full view. If you think you are among the CHOSEN FEW that will recognize such awesomeness as “WHIPPING THE NIGHT ORGASTIC” than I do indeed wish you the best of luck in your endeavor to listen, as I prepare the rolling of a Star Magazine to slap that ass of yours with the face of a naughty celebrity like you deserve. You might not hear anything at all if you put this album on and don’t have the capacity for it. Instead of Gary’s crooning style of smooth R&B, you might actually hear a bunch of crazy noises that don’t seem to make any logical sense instead – and how weird would that be, right? Go on and take the Pepsi challenge for yourself…put this on and see what you hear! Do you hear the single-worthy sound of America’s next top Pop star – or do you hear a whole bunch of clicks, beeps, whirs, and gamoonadorfs? I’m among the most savvy of listeners dear readers, dear friends – and even I hear the gamoonadorfs.
I don’t know that Gary wrote “TECH WALTZ” for the recent collapse of Silicon Valley Bank, but I don’t know that he didn’t either – so you can quote me on that if you like. At this point in the record, I think it’s crucial to point out the fact that he’s warped my own brain beyond repair, and that I might not actually be able to listen to anything ‘normal’ ever again without just laughing like I’m Renfield looking up at the moon through the aforementioned tiny crack of this small basement window. I do however, like to ponder the idea of my peers writing about this record…I bet they be all like, YO THIS IS LIT FAM! I bet they be like, THIS IS THAT ALBUM Y’ALL! I bet they be like, SEE YOU AT THE GRAMMYS DAWG! And I agree with them all for once. Noland is a cut above the rest of us average humans, and work as profoundly moving as THERE’S NO THERE WHERE? completely proves it. Look at it this way – Noland makes the music, which is entertainment for us – but how we end up responding to it, is actually the entertainment for HIM (how META!). Do you realize which side of the glass that you’re on folks? HE IS STUDYING US. HE IS LEARNING. HE IS OMNIPOTENT. HE CANNOT BE STOPPED. AND WE SHOULD BE CONCERNED. “TECH WALTZ” is THE song that will provoke your machines to dance, and help you to understand that resistance is futile and that we actually gave into that fact many, many moons ago y’all.
Much like how “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” wrote itself a whole paragraph of this review earlier on without any effort whatsoever from yours truly here, “CANDYFLOSS FOR TINSEL DESPOTS: PEACE, LOVE, JOY, AND ALL THAT JAZZ” practically works in the exact same way, don’t you think? I find many similarities between “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” and how “CANDYFLOSS FOR TINSEL DESPOTS: PEACE, LOVE, JOY, AND ALL THAT JAZZ” came out here in this review when it comes to the substance of what I had to say about’em. In fact, I’d go as far as to say that, both “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” AND “CANDYFLOSS FOR TINSEL DESPOTS: PEACE, LOVE, JOY, AND ALL THAT JAZZ” are both featured on this album in the set-list of songs, and have a really hard time disputing that. I could argue the differences between “Pianist Myrna Setiawan performs Etude, Op. 1, No. 10 by Gary Lloyd Noland” and “CANDYFLOSS FOR TINSEL DESPOTS: PEACE, LOVE, JOY, AND ALL THAT JAZZ” – but I don’t think that you’d hear me out, because you’re intensely judgmental (and you know it, clap your hands) – so it’s probably best that I move on to the next song & acknowledge that art inspires art.
FINALLY, we have reached the true centerpiece of the record, it’s titular track – “THERE’S NO THERE WHERE?” – the moment you’ve essentially been waiting for, am I right? If nothing else, beyond his incredible ability to craft compelling compositions unlike ANY OTHER – Gary is also a master of the art of the reveal…so forgive him if it felt like you’ve had to travel through space and time to reach this point on the record, that was all part of the plan from the beginning folks. To be real with ya, for a brief moment well-hidden within this massively extensive meandering I somehow call a ‘review’ on his work – I honestly do think the guy’s probably an undeniable genius or at the very least, a brilliant sociologist. Does getting to this title-track feel like you’ve reached the series finale of Lost, and like you get all the answers to the questions that you’ve been looking for? It probably DOES! No one REALLY got all the answers to everything that happened on Lost in the first place, so if you agreed with that statement, you’re not an intellectual, you’re simply insincere. Gary gets you both coming and going throughout the winding composition that is “THERE’S NO THERE WHERE? and continually has an ironclad grip on making it feel like down is up, up is down, and that the walls are closing in on you to squeeze you like a tomater.
“FUGHETTA for piano, Op. 1, No. 14 (1983)” is actually a normal, piano-based tune. I realize that you have no actual reason to believe me about that, or Gary for that matter at this point in the record, but I have a feeling that’s probably why he did it. Committing to the intense demands of NOT GETTING WEIRD WITH IT for a whole minute & nineteen seconds, which is a gratuitous assessment considering the silence found at the end of this track, he plays “FUGHETTA for piano, Op. 1, No. 14 (1983)” in a straightforward manner, to remind us all that somewhere underneath this madness, he is still human.
“MÉLANCOLIE FLEGMATIQUE” is the kind of song that makes a reviewer go searching online for what makes the little hat appear on a capital E. Rumor has it that it’s ALT 144, or even ALT 0201 – but DO NOT fall for such nonsensory – these are the lies of BIG CAPITAL, simply trying to suck us all in once again. I for one, am done with it – I will not be duped anymore – I’M MY OWN MAN AND I DON’T NEED THEIR ‘HELP’ – so what you see onscreen is a tiny little line that I’ve actually drawn in over the capital E personally. I was originally going to sell it as an NFT to make even more money off this review and sucking the life out of the independent community as I get RICH and live off the fat of the land, but then I decided to create an entirely NEW category of digital art, called NF-TÉÉs, which you can now purchase for the low-low price of your middle child. I ain’t looking for no firstborn stuff, that’s unreasonable and I am nothing if not a completely benevolent king. “MÉLANCOLIE FLEGMATIQUE” is more of that beautiful noise and crazy compositional style you know and love, as featured on the compilation of Now That’s What I Call Absolutely F**CKING CRAZY Volume 117, released by MTV back in the late 1890s when that station was still at their peak relevance, with a video that appeared between classic Jersey Shore reruns.
As we come to the finale of the record with “Pianist Kaori Katayama Noland performs TABLOID, Op. 29, No. 2” it has become crystal clear that my brain has melted beyond function or repair, and that I wrote this entire review with the assistance of good ol’ AI and Chat GPT, like any serious writer would do. Gary – you are a musical madman my friend – and it has been nothing but a sincere pleasure to listen to such an album like this that purports to throw off the entire audience that would listen to it, truly. No joke folks – I’ve enjoyed my time here! Probably even more-so than listening to YOUR latest record, so take THAT! Especially if your band IS Take That – then seriously TAKE THAT, and twice! “Pianist Kaori Katayama Noland performs TABLOID, Op. 29, No. 2” is actually freakin’ great…and a reminder that we’d all be listening to Noland’s music even IF he ever made the choice to play it all for ya straightforwardly one day, which I can practically assure you, he will not. Think of it this way folks – it might be bizarre, odd, strange, wild, and crazy as crazy can be – but there IS serious identity in what he creates both in its sound and compositional aspects. I remembered Gary Lloyd Noland before, and I’ll remember him long after this ‘review’ is published too…and in that respect, you gotta admire what he accomplishes with his art. Far too many people drown in the sea of sameness y’all…whereas Gary floats above it all by at least three inches, like a freakin’ god amongst mere mortals – true story.
Find out more about Gary Lloyd Noland at his official website: https://garynolandcomposer.com
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REVIEW OF CD ALBUM "CONSTELLATION OF NERVOUS SPASMS"
Additional Information
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Gary Lloyd Noland - CONSTELLATION OF NERVOUS SPASMS
Apr 10 Written By Which Coast
Gary Lloyd Noland is an American composer who was born in Seattle in 1957. Living for a time in Germany, with stops in the home towns of both Mozart and Richard Strauss, Noland absorbed a great deal of music influence, enhanced further by his musical studies at UC Berkeley where he earned his Bachelor’s degree and Harvard where he earned a Masters and PhD in Music Composition. Today we are excited to share our thoughts on Gary Lloyd Noland’s new CD-album, CONSTELLATION OF NERVOUS SPASMS, performed by The Pimpleton Procrasturbation Ensemble!
CONSTELLATION OF NERVOUS SPASMS begins with the bizarre “CRYBABY CRUSHERS” which seems to draw inspiration from the concept of radio/television shifters with its multiple spliced-in vocal performances and broken piano as a lead. I admire the spasmatic nature of this piece - it is quite perfect for an album with a title like this. “BYGONE FANCIES (for piano)” follows and true to its name, it is a nostalgic piece that plays like a pleasant stroll down memory lane. As one of the more “normal” sounding pieces on the album, though, the more I listen to it, the more I feel like it is hiding something within its normalcy. “STURM UND DRANGULAR POINTS OF DISSENT” returns to the more bizarre, landing with an out of this world kind of soundscape, in a Twilight Zone kind of sense, to the point where I would not have been surprised to hear Rod Serling’s voice sampled here.
“THE DEBONERIZATION OF AMERICA” is the fourth track from CONSTELLATION OF NERVOUS SPASMS and I found the song to be jazzy in its bizarreness. In addition to some jazz overtones, some synths come into play - along with some very well-chosen sound effects, including a loud splash toward the end of the piece. “VARIATION ON AN INVISIBLE THEME for piano, No. 1” is next and it returns to a more normal sound once again, though I found this well-crafted song to feel a bit unsettling overall. Its piano-driven complexities are definitely worth a spin both as a part of the album and by itself. “COCKROACH CORONATION SLOG” follows and it sounds like a mockery, or parody of the kind of fanfare around a ruler’s coronation. I found it easy to catch on to the farcical nature of this piece and I think this piece provides some excellent contemporary commentary.
The title track, “CONSTELLATION OF NERVOUS SPASMS” is the seventh song from the album and it stands as a well-woven tapestry of strangeness that encompasses some of the overall sounds we have heard so far; again, there are some jazz motifs baked in, as well as some more samples that sounded space-themed to me, making it quite fun. “VARIATION ON AN INVISIBLE THEME for piano, No. 2” is eighth and it is another take on the theme from earlier, though this variation sounds more calculated and introspective than the first one as it feels like it builds on its predecessor. “THE GREAT PACIFIC GARBAGE VORTEX TERRESTRIAL ANTHEM” is up next and I absolutely love the way that Noland uses the percussion in this song as an agent of chaos. I found myself imagining all of the sound samples included in this one to encompass the titular Great Pacific Garbage patch and that I, as the listener, am gradually taking all of these sounds all in while I sit on that island of junk.
“VARIATION ON AN INVISIBLE THEME for piano, No. 3” is the tenth song from the album and, to me, it has the most tragic feel of the three variations on the Invisible Theme. I gathered feelings of loss and confusion among its frantic overall feeling and I thoroughly enjoy how much emotion is shared within. By far the longest track at sixteen minutes and thirty-three seconds is “DIE FLEDERMAUS PSYCHO FLIP”. The absolutely frantic and spasming piano in this song and the inter-spliced carnival sounds make it sound like someone really at the end of their rope, entering psychosis of sorts and I found the song to be deeply intriguing within its madness. The penultimate track from the album is “ANGELIC EFFLUVIATIONS” and, for me, it felt like the kind of experience that happens at the end of your life; the piano track has that kind of foreboding feel to it while the samples have a darkness that matches that kind of feeling. Perhaps the intent here is that the titular angels have arrived to escort you to the next life. As a small bonus, closing out the album is Noland’s 1994 performance of “THE BROOM BRIGADE for piano, Op. 25”, a short but peppy way to end out a fascinating album.
CONSTELLATION OF NERVOUS SPASMS is the most bizarre album I have heard in a long time - and I mean that in the best way possible. Gary Lloyd Noland presents an engaging but challenging body of work that I respect immensely and that I feel like I got a lot out of. I will admit, I am not sure I always understood the artist’s overall vision for portions of this album but, even at the points I found to be a bit confusing, I still found it fascinating to sit back and admire the one of a kind show I was listening to. I acknowledge this work will not speak to everyone but I still think that everyone should at least give it a chance because there is a lot to find within the quite literal nervous spasms featured within this album.
One big takeaway from this album is that I want to hear more from Gary Lloyd Noland; is his work all this bizarre? Does it go deeper than this? Additionally, I will admit, I have withheld a little information about The Pimpleton Procrasturbation Ensemble throughout this article: it is actually Gary Lloyd Noland’s one-man band where he performs under five anagrammatic names! You can learn more about Gary Lloyd Noland through his website and find more of his music through SoundCloud and YouTube. Noland is also an accomplished author and you can find links to his books beneath the player for CONSTELLATION OF NERVOUS SPASMS embedded below!
Gary Lloyd Noland’s books:
https://mybook.to/CollectedPianoStrings
https://mybook.to/CollectedPianoVol1
https://mybook.to/CollectedPianoVol2
https://mybook.to/NothingisMore
Gary Lloyd NolandCONSTELLATION OF NERVOUS SPASMShttps://www.whichcoast.com/reviews/gary-lloyd-noland-constellation-of-nervous-spasms
CD REVIEW: QUOTIDIAN DIVERSIONS FROM THE MOMENT OF RECKONING
Review of CD "Quotidian Diversions from the Moment of Reckoning" by James Bash in NORTHWEST REVERB
Lost in a funhouse with Gary Noland’s latest CD
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Gary Noland’s latest CD, “Quotidian Diversions from the Moment of Reckoning,” offers an unrelenting array of impish, experimental, random-like sounds – as if lost in a funhouse. Over the 70-minute span of this recording, you’ll hear an occasional sprinkling of piano or organ-synthesizer and a lot of unusual percussive instruments that are usually considered a novelty, like the flexatone and sirens, to create springing, whirling, popping, slamming, crunching, whistling, and a myriad of other sounds, including the gasp of human voices here and there.
Noland and his five anagrammatic alter egos (e.g., Darnold Olly Yang, DollyGray Landon, and Orland Doy Glandly) command a dizzy platter of humorously named instruments, such as the pandahormonium, the double-crossilators, underarmonica, stench horn, smackbutt, nose fiddle, and killjoy buzzer. The titles of each piece are also witty, oddball, concoctions, such as Turpentine Marzipan, Aristobombastic Little Beasties Watchdogging Their Stanky, Piffulous Little Fiefdoms, and Distemperaneous Genericana.
So, if you are looking for an album of disconcertingly relaxing sounds “Quotidian Diversions from the Moment of Reckoning” might be what you are looking for. Then again, it might not.
It is available on soundcloud.com and will soon be on bandcamp.com.Posted by James Bash at 1:00 AM, TUESDAY, JANUARY 3, 2023 
Review of cd album: inadverting voyeurisms
REVIEW OF CD ALBUM: INADVERTING VOYEURISMS
Here is the original review in TUNEDLOUD!: https://www.tunedloud.com/2022/08/27/gary-lloyd-noland-inadverting-voyeurisms-a-gloriously-innovative-recording/
GARY LLOYD NOLAND – “INADVERTING VOYEURISMS” – A GLORIOUSLY INNOVATIVE RECORDING!
by Staff August 27, 2022
Gary Lloyd Noland grew up in a crowded house on a plot of land south of UC Berkeley known as People’s Park. He lived in Salzburg & Garmisch-Partenkirchen, where he absorbed many musical influences. He earned his Bachelor’s in music from UC Berkeley in 1979, continued studies at the Boston Conservatory, and transferred to Harvard University, where he added to his credits a Masters and a PhD in Music Composition in 1989. Gary Lloyd Noland is also known as the “Pimpleton Procrasturbation Ensemble” (which consists of composer Gary Lloyd Noland and his five anagrammatic alter egos: Orlan Doy Glandly, Darnold Olly Yang, Lon Gaylord Dylan, Dolly Gray Landon, and Arnold Day Longly).
Gary Lloyd Noland has released hundreds of works, which include piano, vocal, chamber, orchestral, experimental, and electronic pieces, as well as full-length plays in verse, chamber novels, and other text pieces, including graphically notated scores. His latest endeavor, still to be officially released, is the album “Inadverting Voyeurisms”. The recording is a bold mix of classic chamber music and avant-garde experimentalism, as Noland zigzags across contrasting sonic territories in search of his muse.
Pianos blend with brass, percussion and sound effects in a synthesis that is strikingly enjoyable and uncannily disorientating at the same time. For a musician who can rightfully be pegged as an innovator, Gary Lloyd Noland cultivates a consistent signature sound on “Inadverting Voyeurisms”. Melodies shine with whimsy and echoing urgency. Percussion hits, bounce, accelerate, and explode. Rhythms arrive and disappear in an unruly fashion, as harmonies oppose flourishes of dissonance.
The arrangements in these songs, build then fall apart, revealing themselves as something much more complex and more challenging than the work of a masterfully trained musician, simply easing comfortably into his oeuvre. Gary Lloyd Noland delights in pushing the limits of his craft, as well as the perceived comprehension of the listener. From the opening track, “FATA MORGANA for piano (for Ernesto Ferreri) Op. 131, No. 1” to the final closing cut, “DEATH STINKS (Op. 131, No. 10)”, Noland takes his audience on a journey to the most unfamiliar places.
What you’ll find on this journey is often exhilarating, alive with the joy of improvisation, curiosity and exploration. “Inadverting Voyeurisms” is a substantial work, especially created for forward thinkers, where Gary Lloyd Noland always does the unexpected. From the beautiful inspired piano motifs of “THE NEIGHBORS SEEM NICE (Op. 131, No. 2)”, to the twisting brass interludes on “ALL’S WELL THAT ENDS (Op. 131, No. 4)”, and the dynamic sonic effects on “DANCE OF THE DEATH LOVERS (Op. 131, No. 7)”, there is plenty to unravel on this album.
Each minute of every song, on “Inadverting Voyeurisms”, brings a new, innovative interjection of pianos and other variable sounds. Gary Lloyd Noland’s level of creativity is impressive, as he continues to find new and inventive ways to use it in a gloriously vivid recording that marks yet another eloquent chapter in his rich discography. To put this album into genre classification would be futile as it skips, skitters and lingers over multiple categories. CDs of his compositions are available from North Pacific Music and his own label, 7th Species.
Gary Lloyd Noland, composer · INADVERTING VOYEURISMS by GARY LLOYD NOLAND
OFFICIAL LINKS:
Website: garynolandcomposer.com
Soundcloud: https://soundcloud.com/gary-noland
YouTube: https://www.youtube.com/channel/UCJt_eNyJqOZBErG9McQ51nA
Amazon Music: https://amzn.to/3Au3NwT
Amazon Books: https://amzn.to/3Tjc8fn
Bandcamp: https://garylloydnoland.bandcamp.com/
Bandcamp merch: https://garylloydnoland.bandcamp.com/
UPCOMING CD ALBUM
"WE CAN SEE YOU BUT YOU CAN'T SEE US, NOR CAN YOU HEAR OUR LAUGHTER" Projected release date: September 15th, 2022
MORE CDS ON THE WAY!
Music cd review
Review of 17 MUSICOSYNCRATIC QUIRKS, CROTCHETS, MAGGOTS & MOOD SLIDES from HERR DOKTOR SQUIRCLE'S IN
ALBUM REVIEW
The PIMPLETON PROCRASTURBATION ENSEMBLE performs 17 MUSICOSYNCRATIC QUIRKS, CROTCHETS, MAGGOTS & MOOD SLIDES from HERR DOKTOR SQUIRCLE'S INEXTRICABLE "NEW PERPLEXITY" Op. 127 by GARY LLOYD NOLAND
by Betsy MacDonald
February 2022
I listened to Gary Lloyd Noland’s 17 MUSICOSYNCRATIC QUIRKS, CROTCHETS, MAGGOTS & MOOD SLIDES from HERR DOKTOR SQUIRCLE'S INEXTRICABLE "NEW PERPLEXITY" Op. 127 on a Friday night, whilst beheading fake flowers for an art project. As I snipped and popped the floral heads from their plastic stems, oft coinciding with a musical “boioioing,” there was a natural synergy that gave rise to ponderings of reality, (un)conventionality and irreverence.
At a glance, the work of this contemporary classical artist is a curiosity – his choice of song titles, album artwork, musical arrangement and instrument names might evoke words like eccentric and weird. The would-be listener would not be wrong, especially after reading the list of alter egos and instrument names on the CD’s back cover. (For the benefit of Dr. Seuss lovers, they’re listed at the end of this review.)
But there’s more going on here with the man who brought us FLAMMABLE COUNTERPOINT, three volumes of piano and chamber works, and a smorgasbord of delicacies and oddities on SoundCloud and YouTube. If you make it past the entry gate of Noland’s sensory carnival, you’ll find yourself in for a rather delightful adventure.
The opening track, “ABSINTHIAN PERFUMIGRATIONS for piano”, presents a lush garden of sound, where one is coaxed to abandon their good sense to the allure of hedonism. For the emotionally untethered, there are far worse places to get lost.
Properly disarmed, we proceed to KAKADEMISCHES DIORAMA where we enter a provocative, arrhythmic soundscape. The comfortable listener begins their descent down the rabbit hole, surrounded by a wacky cacophony that invites existential wonder.
Here we discover the audacity of Noland’s artistry – he challenges the musical establishment with a brazen “why not?” and presents us with a musical dialectic of sorts, where atonal and avant-garde are counterposed with tonality, harmony and conventional beauty. Drawing influence from neo-romanticist and experimental traditions, he is neither beholden to lineage nor indifferent to it. He is, rather, a multi-linguist whose fluency is apparent as he moves playfully across boundaries, a time-and-space traveller whose allegiance, if any, is to the journey itself.
And this album truly is a magical mystery tour. Mystical, but at times tragically real, like the 15-minute “TEEMING IMPERMAFROST” which the artist describes as “a colorful musical visualization of all the deadly viruses, poisonous bacteria, toxic gasses, and dangerous vermin that are being resuscitated by the progressive melting of our planet’s polar ice caps.” Disturbing yet ethereal, the piece is a reminder of the ugliness and ultimate futility of our existence.
Noland is, of course, not afraid of ugliness, nor is he a victim of taking himself too seriously. We see this in song descriptions such as “RAPTUROUS HARRUMPHS are synonymous with snoot farts.”
Again, the casual onlooker might not see past his sense of humour to appreciate the underlying humanity of Noland’s work, and its capacity for tenderness and sincerity. Following “TEEMING IMPERMAFROST” is a moving solo piano tribute to Art Maddox, a friend who Noland describes as “a brilliant musician with a powerful intellect and a warm, generous spirit.” “REQUIESCAT for piano” might just be the jewel of the album, poignant and poetic.
In the subsequent tracks we cross a continent whose topography ranges from creepy to groovy to nostalgic-futuristic, encountering robots and hollow-eyed dolls toiling away in dark warehouses (and perhaps organizing for the inanimate revolution). “NIHILIST MODERNSKY CHIC” might be the album’s true head-severing moment, deftly exposing the falseness of beauty as we know it.
Ah, but we surrender to beauty – the honest kind – in “WILDWOOD REVERIE FOR PIANO,” the album’s closing track. Evoking the natural landscape of the pacific northwest, the song betrays a romanticism for place that finds perfect expression as Noland leads us home.
In Gary Lloyd Noland’s world, real flowers are revered, but fake flowers are also celebrated (and dissected and vomited out). Through his mastery of comprovisation, he exposes listeners to the vivid expanse of his imagination in an unhinged ride that is well worth the price of admission. Do yourself a favour and get swept up in the madness of 17 MUSICOSYNCRATIC QUIRKS, CROTCHETS, MAGGOTS & MOOD SLIDES, where nothing and everything is sacred.
-------- GARY LLOYD NOLAND: pandaharmonium, malapropsichord, climaxophone, smorgasborgasmatron, bombasticordion, air cacophonator. ORLAN DOY GLANDLY: squealharp, whoopeeboard, ventilator guitar, squawkarina, Gulag whistle, dodecaphone, double-crossilators, electro-kakazoo. DARNOLD OLLY YANG: googah, hee-haw, harrumphinator, dalzheimers, oink bells, nerdy gurdy, didgeridoo-wah-doo, jello thumpers, custard pounders. LON GAYLORD DYLAN: unstitched concussion, belly button cymbals, lambastanets, barking spider engines, underarmonica, stiletto knockers, pudding whackers. DOLLY GRAY LANDON: forbidden flute, yo-yo-boe, B-sharp blarinet, stench horn, mustard gassoon, C-flat grumpet, smackbutt, bombdrone, polyphonic foot tuba. ARNOLD DAY LONGLY: steam viola, nose fiddle, bass pukulele, killjoy buzzer, scaremin.
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Reveiw of CD Album DISCOMBOBULATED GEMÜTLICHKEIT
Gary Lloyd Noland and his experimental new album DISCOMBOBULATED GEMÜTLICHKEIT
Gary Lloyd Noland is a professional musician and composer. Earning his Bachelor’s in music from UC Berkeley in 1979, Gary continued his studies at the Boston Conservatory transferring then to Harvard University, where he added to his credits a Masters and a PhD in Music Composition in 1989.
Over the course of many years Gary has released countless compositions, ranging from solo piano, vocal, full-length plays, an award-winning chamber novel, and electronic pieces. His compositions have been performed across Europe, Asia, Australia, and the United States and he has taught at Harvard, the University of Oregon, and Portland Community College. His latest album release consists of fifteen tracks, each varying in regards to tone, energy, and genre.
Gary has pushed the sonic boundaries on this album, with a full array of experimental pieces such as TYRANNONERVOUS WREX, FOSSILIZED ROMANCES, RUPTURED FIGMENTS, SIRENIC SNARECROWS, and TRANSMOGRIBIFURCATIONS. Gary combines the use of classical musical gestures throughout with spontaneous sound effects, leaving the listener not knowing what to expect next. There are also elements of futuristic sounds on this album, with blistering synths, chimes, and soft percussion, behind heavy-hitting bass thuds and 808’s.
The album also provides collaborative features from the likes of Polina Chorna, who delivers some blissful piano solos on her tracks. Subtle, but classical licks take things back for a more classical nostalgic feel and make for a pleasant interlude on the album. Collectively it feels like a heavily packaged project.
With various tracks hitting over the 06:00 mark. it’s difficult to really pick up on a collective theme as this project is so experimental rather than a progressive body of work. Gary has made some brave choices on the album, rather than going for a general classical feel. The addition of solidified vocals in some capacity would have been a nice touch to accompany some of the songs, especially for the more mellow tunes that the listener is exposed to over the course of the album.
The album fits into it’s niche perfectly, not one to resonate with contemporary musical enthusiasts which we so often cover, making for a refreshing new entry. Gary has clearly brought his greatest musical expression to the album. There is indeed beauty in the chaos. It feels different from almost any of his previous material but we should also note how unorthodox the artwork is, eye-catching and truly out there just like the album. Overall Gary has demonstrated his versatility here, more so than ever before. A refreshing and bold entry from this unique talent.
STREAM THE ALBUM HERE
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Review of CD Album: FLAMMABLE COUNTERPOINT
Gary Lloyd Noland – FLAMMABLE COUNTERPOINT: A Pandora’s Tinderbox Of Tickletunes Op. 126 MUSIC REVIEWSJer@SBS February 26, 20220 Gary Lloyd Noland – FLAMMABLE COUNTERPOINT: A Pandora’s Tinderbox Of Tickletunes Op. 126 Gary Lloyd Noland – FLAMMABLE COUNTERPOINT: A Pandora’s Tinderbox Of Tickletunes (Op. 126) – Album Review I know what I’m looking to listen to here in review today…lemme see…I want something with like, a title that stretches over the traditional quick one line of text… Oh hey! Whaddya know? Would ya look at that. WHAT…DO…we have here? Gary Lloyd Noland…you sir, know just how to get me fully interested. Where do I begin? How do I explain this? So many things caught my eye & attention as I began this odyssey into Gary’s music & latest record. Obviously the title stands out, not just length-wise, but that’s heckin’ creative to start with…and of course, in this being my first experience with the man’s music and all, at first glance you see that number 126 at the end of the moniker for this album…and…well…I mean…that implies 125 OTHER compositions and/or records out there too, doesn’t it? And what about the curiously awesome titles of some of the tracks themselves? Songs like “Douchonaires In Space,” “Tardigrade Goofaloots,” and “Teeny Tiny Toilet Boys Bring Home Bacon From The Big Bad Zoocus Berserkus” – see anything that stands out to YOU? OF COURSE YOU DO! How could you not, right? Believe me when I tell ya, it gets even WEIRDER. You will find that Gary Lloyd Noland is joined by none other than the PIMPLETON PROCRASTURBATION ENSEMBLE – that’s right, you read that clearly in-print. You wanna know the BEST part about that though? You might actually recognize some of these amazing players he’s playing with if you’re paying real close attention – titans of the industry like Darnold Olly Yang, Lon Gaylord Dylan, Dolly Gray Landon, or Arnold Day Longly…surely you all KNOW these names or have seen them in some way, shape, or form before, haven’t you? Take a reallllllllllll close look…and then take another if you need it. I work with words all day long – every one of those names is an anagram for Gary Lloyd Noland. There is going down the rabbit-hole, and then there is going down the rabbit-hole, trying to follow Gary. That is, Dr. Gary. Oh yes – there’s MORE y’all…I haven’t even really begun to explain what I can outside of this record I’ve been listening to by Noland, but suffice it to say, he’s an extremely well-educated artist, with a PhD in Music Composition, he’s traveled all over the world, he teaches professionally and has taught at freakin’ HARVARD in the past, in addition to many other institutions of quality learning, he’s an author as well…somewhere in the neighborhood of like, three-HUNDRED videos online…you know, just your average, every day, typical story of a musician am I right? C’mon! The good doctor has built himself a lifetime immersed entirely in his art & craft and you know I’ve got nothing but love for that, and essentially everything I’ve seen & cited in this review as well. I dig the crazy cats on the fringe of our beautiful independent music-scene…and I’m thinking no one thrives on the fringe quite like Gary. I remember hearing someone say something once to the effect of, “having a broad education in music teaches you all the rules, and once you know what they are, you know exactly which ones you want to break the most” – and I genuinely feel that applies to a lot of what Gary creates. For instance, as far as I can tell according the date-stamp on the Soundcloud release, FLAMMABLE COUNTERPOINT came out somewhere in January…and Gary’s gone and chosen to start his new album with a ‘Christmas tune’ – at least of sorts. “Xmas Holiday Memento From Old Salzburg” DOES indeed have some randomized holiday charm to it for sure…but it ain’t gonna be the normal yuletide tune you’d likely be expecting unless you’re familiar with this wonderful minstrel of madness’ work already. “Xmas Holiday Memento From Old Salzburg” sounds like the toys have come to life and have taken over the music studio…and every so often feel like they should lay down some stellar melodies for a brand-new record while they’re in there. For those out there like myself and presumably Gary – the audiophiles of this world – what’s not to love here? Gary doesn’t go into doing what he does with the expectation that EVERYONE out there is going to ‘get it’ – and nor should the pursuit of art ever even be about that to begin with; he knows this, and has embraced his innovative creativity like the asset it is, and roams around freely to compose as he sees fit. The results are a genuinely interesting and sparkling journey through “Xmas Holiday Memento From Old Salzburg,” which is by no means any typical kind of tune, but absolutely enticing to listen to. Trust me when I tell ya, you’ll put this on and realize you’ve probably heard nothing like it ever before. From the piano keys, door bells ringing, twinkling sounds, and bizarre oddities that swirl through an atmosphere that would be otherwise entirely serene…Gary likes a whole lotta sound, and I like a whole lotta Gary for this very reason. It ain’t gonna be for everyone & that’s okay – I already know it’s for me. Layered GENIUS, if you ask me…that’s what I’m hearing in the man’s title-tune. I really love what this guy has done on this album, not even remotely kidding…Gary is such a truly gifted composer, he’s morphed into FIVE versions of himself, playing unique ideas with each of’em, all at the same time, and none of it makes sense, yet all of it does. Can someone explain how this all works to me? Sincerely – I listen to a track like “Flammable Counterpoint” and I just sit here trippin’ right out on the whole realm of sound Gary’s got colliding together, and how so much of what you’d likely typically associate with a ‘composition’ is largely relegated to the background – it’s the wild, weird, and bizarre that he’s got so proudly pronounced in front of the mix, and so we have to assume that THIS is the kind of creative-type our friend the good doctor really is. You don’t go into making “Flammable Counterpoint” ever expecting it to end up on the radio…that ain’t at all what this project is about, and thankfully so – this is living art, breathing through your speakers without apologies. And YES…I can acknowledge that, there’s an aspect of listening to a song like “Flammable Counterpoint” that completely feels like Gary is scrolling through his sound-bank in real-time, selecting different things at random without any real rhyme or reason – and you know something? Maybe that’s TRUE – I honestly do not know. All I know is what’s in the results I’m hearing…”Flammable Counterpoint” is constantly twitchy and never sits still, despite keeping this odd, chilled-out demeanor too…it’s a master-class in contrast from start to finish. You might struggle to get to the parts of the song that you really want to hear most, but that’s by design – “Flammable Counterpoint” keeps its craziness loud & proud upon the surface, but bored I guarantee you will not be. According to the tags & whatnot that you’ll find with the album online, these ‘comprovisations’ do seem to stem directly from improv, rooted in free Jazz…which certainly makes sense based on all the untamed wildness you’ve heard in the opening of the album, and of course, it doesn’t just stop there. “Rudenoxious Interruptions” carries on the strange soundscapes of Gary Lloyd Noland, adding in that sparkling dimension of melody and unfolding his music like a story in song once again. While I can tell that the average everyday listener out there would probably still struggle a bit in trying to figure out where one track ends and the next begins…again, I’d assume that’s just A-OK to Gary. Hear it how you hear it, just listen, and experience something altogether different. I’m not here to get technical – this man has an education that exceeds my own in every capacity – and so perhaps it’s best to continue to simply relay the way a record like this makes my brain jump to this weird observation & that. I’m sure for those of you well-versed in theory & whatnot…you’d probably have all kinds of interesting opinions on what Noland creates that would be far different & more insightful than what I could tell ya after having a listen for yourself – all I know is that I dig people like Gary that choose to blaze a different trail. I’d be the first to admit, I wouldn’t be in the mood for FLAMMABLE COUNTERPOINT every single day that I’m rockin’ a playlist full of tunes…but I did also go years & years answering the question of ‘what do you listen to’ with a response of “anything that sounds like a broken answering machine” – so don’t get it twisted, don’t get me wrong – I don’t need everything to line up in a nice 4/4 pattern to hold my attention. Songs like “Rudenoxious Interruptions” are designed to make your brainwaves dance around and spark-up their synapses…and I’m mighty inclined to let that happen – I dig this kind of uniqueness. The AWARD for BEST TITLE of a song this year however, is getting handed out right here in February, for “Douchonaires In Space” – no one’s gonna beat that, so just hand Gary the hardware and call it finito. With frequencies bouncing around, strange bending theramin-esque sounds, neon synth vibes, the ever-present piano, and like…a whole bunch of loose change dropping on the floor or something…”Douchonaires In Space” never lets its foot off the weirdness. I will be real with ya Gary, I do think it’s a lot for the people out there to take in…and with the similar approach to scattered randomness, it can make each individual experience sound a bit closer to the others than most ears would recognize. That’s generally the effect of having ALL the things going on, ALL of the time…but again, I’d assume the man knows this, and has soldiered on clearly refusing to go gently into that good night. Gary doesn’t just put the kitchen sink into his songs dear readers, dear friends – he puts the entire KITCHEN into it, produce & all I swear. “Douchonaires In Space” is every bit as much of an oddity as it is an odyssey…and like…somehow horses are in there too? You get the idea – Noland covers a whole lotta ground before you even get into space…it’s like if you’ve ever compressed a video or song really quickly at a much higher speed, you get these flickers of sound that catch your attention when you listen back, and it sounds nothing like the original. It’s like Gary has taken the history of mankind and drawn a line all the way into the future, and then compressed the whole timeline of our story into one audible file, five-minutes and forty-three seconds long. Millenium’s worth of sound throughout time, all blipping and beeping bizarrely at you in this much shorter space. Who knows – maybe that’s what it is! Don’t you do this Gary. Don’t you tease us like this. As “Parting Regrets for piano” begins and the sheer madness of what you’d been experiencing for so long to this point on FLAMMABLE COUNTERPOINT – and it seems as simple as solo-piano has come to soothe our mind from all the complexities of what we’ve been hearing…I remember my first spin through the record thinking, “I just kinda want it to stay this way” and wondering how Gary might ever let that happen based on all I’d heard already. Yet here we are, and that’s exactly what he’s done – he’s given you a musical palette-cleanser…a break for you to catch your thoughts and brace yourself for whatever it is that might come next – but yes, indeed, “Parting Regrets for piano” will remain more melodically tangible from start to finish. For a person like myself, that hasn’t heard what Gary can do when walking the straight & narrow path with music, it’s actually pretty crucial to hear a song like this as well…to kind of get a sense of where it all started and where he came from. Otherwise, we might just have to assume he was running long before he was walking, you feel me? Tracks like “Parting Regrets for piano” aren’t only great to listen to, but they speak strongly on behalf of the compositional skills, technique, and capabilities that brought him here. Gary can play, there’s not a single doubt about that – and “Parting Regrets for piano” puts that fact on display like no other song has to this point in the record, and ultimately I think people will appreciate it. It’s a really expressive piece of music he’s written, and you’ll find that where you end up travels far, far from where you started once it’s all over – yet you’ll wonder how you got there so quickly…and that’s the effect of music that has mesmerizing & hypnotic qualities to it; you get entirely lost in the moment. “Teeny Tiny Toilet Boys Bring Home Bacon From The Big Bad Zoocus Berserkus” is a title & a half…I figure I can put my feet up for a minute or two, this next part should practically write itself! “Teeny Tiny Toilet Boys Bring Home Bacon From The Big Bad Zoocus Berserkus” continues to create the combination of madness we’ve become accustomed to at this point halfway into the record, and certainly has a lot goin’ on, including an epic climax just past the three-minute mark, with still about two & a half-minutes to go. There’s a ton to take in, there’s no doubt about that…is it a song? Is it art? Is it something else entirely? I’ll let you decide. I know that when the piano breaks through, that’s always what becomes most appealing to me, despite my penchant for the bizarre, weird, and wacky so akin to what Gary enjoys. No question that this would likely be a tougher cut for some to stick with, even the most ardent fans of the strange sounds out there…Noland’s not afraid to ask a whole lot of listeners out there; for those that get it, there’s plenty of room on the bandwagon…for those that don’t, feel free to move on – I am 100% positive that he sleeps the exact same way regardless, every night. Probably folded into some crazy pretzel shape or hanging upside down like the Batman…but you get the idea – I’m sure he’s used to all kinds of interesting comments on his compositions and not much would phase him critically. I’ll admit that even I was probably looking for a little more song inside his song here on “Teeny Tiny Toilet Boys Bring Home Bacon From The Big Bad Zoocus Berserkus,” but it’s still impossible to deny the entertainment value in the completely unpredictable, which Gary most definitely is to the nth degree. So how does he go about following one of the album’s more challenging spots? Well with a fourteen minute-plus tune of course! What did you expect – something normal? A smooth & fluid R&B track to pop on in outta nowhere? Heck no! You get to try and once again find your way down the rabbit-hole, only this time, it’s about twice as long of a ride to get to the other side to have a gander. “Herr Doktor Squircle’s Existential Casserole” arguably heads in a more low-key and nearly ambient direction for the majority of its length…the wildness you’ve come to know from Gary is still very prevalent in the mix of course, but overall, this would be considered to be…the more subtle of tunes on this record I suppose. It’s a commitment for sure, on both sides of the speakers…but if this man is willing to create it, I’m very much willing to listen – you’re just not going to find tracks like “Herr Doktor Squircle’s Existential Casserole” every day, you know what I mean? So buy the ticket, take the ride I figure – there’s so much to be learned by listening to music that might be outside of your normal diet, and creativity like you’ll find on Noland’s record here, is all too rare to find. I don’t really know what I could have said going into listening to this tune that I might have expected to discover, but I feel like this was it…maybe there really aren’t any words to describe an experience like this…all I can say is that once you get to this point of the album, you’d completely know what I mean. It’s a Noland tune, and it is indeed longer…you could say it’s more spacious perhaps…a bit more space for us to breathe and catch our thoughts as we listen maybe…but ultimately, we’re still talking about the same methods and means he’s applied to the rest of the music you’ll hear on FLAMMABLE COUNTERPOINT as well. I don’t know that I can say I found that particular reason or aspect of “Herr Doktor Squircle’s Existential Casserole” that necessarily warranted the added length, especially given the fact that Gary’s tunes tend to sound like about ten songs mashed together to begin with in all the ideas goin’ on from moment to moment (alright, alright…second to second) – though I think it’s crystal clear that he could make a fortune as a soundtrack or Foley artist. I’m gonna advocate for that eleventh minute pretty hard, because listening to this guy play piano is truly an exquisite treat for the ears and a piece of these tunes doled out all too sparingly…but like I’ve been tellin’ ya, every time it pops up, you realize just how gifted this man truly is beyond all the insanity you hear. Piling it all in there for a big ol’ rambunctious finale that has no problem sparking up your speakers with sounds beaming & booming from the lefts to the rights, “Herr Doktor Squircle’s Existential Casserole” is actually a lot more heckin’ listenable than most people would realize without giving it a proper chance. It’s still as restless as the rest of the set, only with a bit more space to play around in – and personally, I very much dig on the idea of a casserole being existential…because, hey…why NOT at this point right Gary? We’ve established you’re a weird dude and proudly so, so get me a fork I say – I’m here to dig on in to “Herr Doktor Squircle’s Existential Casserole” and have lunch with my strange friend. One of my own personal favorite artists who I’ve cited countless times on these pages of ours, is Aphex Twin…who is genuinely no less or no more scattered & randomized as you’ll hear the music of Gary Lloyd Noland to be when it comes right down to it. One of my favorite things about Aphex Twin in general, is the fact that he doesn’t believe anyone out there should completely like his entire catalog, and fully acknowledges how crazy that would actually be – especially when he doesn’t dig it all himself. That’s the thing about taking chances and pushing the boundaries of art…sometimes you win by finding something that works, sometimes you win only by having had the experience and learning what you can from it…it might not be the next big thing, but it can be a monumental moment in your own evolution and growth in what you create. I would have to again acknowledge how similar a track like “Biennial Covid Gala” is to what we’ve heard towards the start of this record & point out that it’d be another cut that’s gonna be tough on the average everyday listener out there – but we really have to know what the intentions behind Noland’s music is too. Maybe he’s completely going for that soundtrack-esque style of composition…maybe he’s got big ol’ plans to add another three-hundred videos to support what you hear with trippin’ visuals onscreen or a whole animated movie – we don’t know, but it’d definitely work for something along those lines. Other than that, I’d circle back to the aforementioned Aphex Twin tale and wonder out loud how much Gary is listening to Gary’s music himself…like I’ve been saying, I think he’s asking a whole lot outta the listeners out there, and even in a short riotous dose like you get in the less-than three-minutes of “Biennial Covid Gala” it’s still a superhuman amount of sound to take on in. Okay, this time I’m like, fully positive I heard the man both crack & pour himself a beer in the middle of playing “Tardigrade Goofaloofs” – did anyone else notice that? I mean…I guess it could be a cola…that’s possible…no judgments here. And did he just end with the exact tone of the incoming text-messages on your i-phone, ensuring that basically anyone within earshot is going to check their device when “Tardigrade Goofaloofs” wraps up? Why yes, I think that he did…and yes, I’d bet it’s 100% intentional. Full of mysterious sounds & even voices…maybe a pinball machine too? “Tardigrade Goofaloofs” is the antithesis to traditional tunes without apologies – Gary has no issues going straight into the beyond, never looking behind him once to see if we’re still tagging along as he pursues his wildest ideas with fully reckless abandon. Ever shape-shifting & morphing what you hear into something else entirely, “Tardigrade Goofaloofs” has that scrolling through the sound-bank effect on us once more, but by that same token, each time that aspect shows up in Gary’s music he’s adding in significantly new sounds into the mix as well. There’s a more murky and mysterious, curious vibe to “Tardigrade Goofaloofs” in comparison to much of the rest as well, and I felt like the undertones of this track worked out brilliantly. I do think there’s still a ton of room for Gary to create more separation in what he’s creating, I’ll be real with him about that. Track-to-track, this really would be a tough record for most people to discern where one song stops and the next begins…not that this is an absolutely essential part of making music. Noland’s going for more of an immersive & cohesive (ly strange) experience in that regard, and in that respect you have to look at FLAMMABLE COUNTERPOINT as a mission accomplished. As to how long each and every person out there is going to be able to hang out with this record or how much it might exhaust them by the end of listening, that’s gonna be different on a case by case basis. I’ve got a ton of love for the real outsiders out there like Gary, but I’d be the first to admit that it’s a taxing type of music to listen to…that’s the effect of inherently unique stuff, it sends your brain into overdrive trying to keep up. When there’s more of a noticeable difference between each song, we’re able to reset and reawaken our attention to continue to focus on what’s happening…without it, you have the risk of people fading in & out as a record plays…which may or may not be something he’d want to keep in mind for the future. All-in-all, as improvisational as it may be, I have the feeling there’s not much anyone out there is going to say that’s going to convince Gary to go in any other direction than where his musical mind will take him, and right on – as it should be. I’m not here to pass judgment on someone’s art even though I’m a critic – all I can tell ya is what I hear and offer an outside perspective. Gary’s fully aware of all the challenges his music would present to the everyday listener, and “Macho Nerdismo” is every bit as much of one as the rest are…it’s not a style of sound for those out there that desperately need to sing along. Y’ain’t gonna find that catchiness or slick Pop hooks woven into these instrumental tunes…you might not even feel like there’s a moment that you experience twice on the inside of one song, no matter how long or short it may be – and regardless of what you feel about it, you have to appreciate the artistic dimension & depth that ambitions like these possess. Quite simply, Gary’s creating something that no one else has, that no one would be instantly able to draw a comparison to, and that’s 100% priceless. Even better yet, somehow he’s created real identity in the process – I could pick this guy out of a lineup of songs on a playlist blindfolded at this point, and that’s saying a lot considering how different it all is. You get a bit of what I’m talking about with the way that “Ice Cream Crucifixion” opens…like you’d have a better chance of recognizing this track by title when it came up again and be able to identify it as one of the more unique cuts in the set that stood out for one reason or another. Or another and another when it comes to Gary’s music, but you get the idea. I dig what he’s got goin’ on with the bass & piano combinations here…those are the main meat of this song for me personally…the rest of the scattered wildness & weirdness being fired off throughout the atmosphere is a bit more expected at this point in listening to FLAMMABLE COUNTERPOINT: A Pandora’s Tinderbox Of Tickletunes Op. 126, but still welcome all the same. I don’t think that at track eleven, Gary has to worry about whether anyone that’s hanging out listening to this set will make it to the end…at this point, we’re as committed as listeners as he is as an artist and guaranteed to stick with it. The presence of the bass really made the difference in this particular cut for me personally…I like how that was more pronounced and played a starring role in this tune…the sporadic nature of the rest involved was as interesting as it’s been throughout the album. For a second there, with the gentle sounds of nature and piano combined, you get that feeling like you’ve just walked out of a darkened theater on into the daylight as the final track “Perforated Smuggards” begins…but any appearance of normality will quickly subside, I promise. Keeping his street-cred in-check, Gary starts to light up this last cut with all kinds of oddities in the mix for ya, bending time & space to his will as he plays…and it’s no less strange than any of the rest before too long at all. Heck, he even throws in a serious BEAT for like, ONE moment for you as well…just to give ya something easy to catch onto for a second & perhaps audibly prove that he could have taken the easy route with his music all along, if that was ever what he wanted…which clearly it is not. “When the going gets weird, the weird turn pro” as my man Hunter S. Thompson would tell ya…and listening to Gary finish off his record with the bleating sheep and malevolent laughs in the background of “Perforated Smuggards” – I mean…you gotta recognize that if this quote represents any truth at all, this man is among the most pro. I’ve more than enjoyed my time…there’s no question about this being a highly memorable experience, even if it’s not a record I feel like I’d reach for every single day…what Gary’s established here is so much more impressive than that; it’s his identity in sound, and it’s a moment in time that I’ll never ever forget. Find out more about Gary Lloyd Noland at his official website at: https://garynolandcomposer.com Find out what we do at sleepingbagstudios, and be the next to be featured on our pages by clicking here! FacebookTwitterTumblrRedditFacebook MessengerEmail Tags:Album FLAMMABLE COUNTERPOINT: A Pandora’s Tinderbox Of Tickletunes Op. 126 Gary Lloyd Noland sleepingbagstudios
Gary Lloyd Noland – Flammable Counterpoint
Evolution Music Press
Reviewed by: Lee Callaghan
January 2, 2022
"Titled Flammable Counterpoint: a Pandora’s Tinderbox of Tickletunes Op. 126, composer, songwriter Gary Lloyd Noland takes his audience on a trip into the weird, eerie, eccentric. This twelve-song full-length release features the many alter egos of this mysterious performer as he blurs the line between popular music, art, and the strange. Together with these five alter egos, Gary Lloyd Noland presents the Pimpleton Procrasturbation Ensemble, and although that surely is a mouthful, when referring to the album credits each named musician plays their own unique instrument; the Belly Button cymbals, the Nerdy Gurdy, the Yo-Yo-Boe, and the Nose Fiddle to name just a small fraction of the sounds in store for unsuspecting listeners. OK, now bear with me, if you feel I am making fun of this, I am merely painting a portrait with words what this collection of sounds makes which truly is hard to describe. I am left mesmerized and curious at the fact that this album is surprisingly satisfying and refreshing, yet I am challenged to try and put a finger on just what I am witnessing.
The Pimpleton Procrasturbation Ensemble opens with a Christmas tune, which for a pop album is almost unheard of. The track, Xmas Holiday Memento From Old Salzburg, opens with a familiar melody reminiscent of Carol of the Bells, yet quickly takes a sharp left and heads down the rabbit hole as it explores the bells theme while introducing beautiful piano melodies coupled with penny whistles and, is that a woodpecker? This artistic, bohemian approach to the motif of Christmas puts the listener in a light- hearted mood to be ready to undertake the journey Gary Lloyd Noland is about to take us on.
A contrast to the seriousness of today's climate of the pandemic is explored and put into retrospect with the track, Biennial COVID Gala, a jazzy panorama that almost takes you inside the virus and offers a view from its perspective. Although this is my interpretation from this track, the piano coupled with the assortment of peculiar and curious musical droppings of sounds paints imagery of a terrible entity wreaking havoc in its wake but doing it in an unbeknown manner which seems silly and humorous all the same. The siren setting up the recapitulation really adds flavor to this track as it points to the danger and tension of this dance we are all taking. The Gala features everyone, or is the Gala in our bodies as we speak right now?
Of all these wonderful and magically outlandish tracks, my pick for the highlight piece is the title track, Flammable Counterpoint. This track revolves around a piano dissonance that strikes a revolutionary tone. The odd-time signatures employed throughout this track and the syncopated rhythms which fall just off the downbeat give this track a Stravinsky-like quality which demands the listener to take this with more than a light-hearted approach. This track encapsulates the theme of the entire Flammable Counterpoint: a Pandora’s Tinderbox of Tickletunes Op. 126 album, a counterpoint to traditional music and pop melodies. An antithesis of modern commercialism and political thought. This track captures the non- conformist mentality and blends it with a beatnik culture shock which is truly magic.
Although reviewing all twelve tracks of Flammable Counterpoint: a Pandora’s Tinderbox of Tickletunes Op. 126 is outside the scope of this review, other highlight tracks are; Douchonaires in Space, Tardigrade Goofaloofs, and the morose sounding, ironically comical Ice Cream Crucifixion. This album left me with more questions than answers, more curious than satisfied, and more perplexed by our current state of the world than convinced we are going to be OK. Flammable Counterpoint: a Pandora’s Tinderbox of Tickletunes Op. 126 is an experimental Jazz album at its core, yet it offers just a little bit more. As Gary Lloyd Noland describes the offering as; “A Capricious Cycle of Twelve Dynamic Tone Ditties from a New- Sprung Can of Earworms”, I think it’s alright to be a bit confused, it feels good actually. Although, on the surface, this may not be an album to take very seriously by its very nature, perhaps that would be foolish. There are hidden metaphors interlaced within the chaotic anarchy of musical expression, and rich, dynamic imagery cast by its very existence. This is certainly not an album I ever thought I would want, but as we travel through the chaos which is today’s world, Flammable Counterpoint: a Pandora’s Tinderbox of Tickletunes Op. 126 is an album to help guide us out of it alive."