2002 - 'Rose Coded' - CDR - Antboy
2003 - 'Building Blocks' - CD - Antboy
2005 - 'SPEAR' - miniCDR - Antboy
2006 - 'Body and limbs still look to light' - CD - Cathnor
2009 - Will Guthrie / Martin Kuchen - split 3" CDR - Compost & Height
2009 - 'Spike(s)' - 7" single - Pica Disc
2012 - 'Sticks, Stones & Breaking Bones' - CD/LP - Antboy / Pourricords / Gaffer / Electric Junk
2013 - 'Snake Eyes' - CDR - Norwegianism Records
2014 - 'Stepped Stoned' - TAPE - Astral Spirits
2015 - 'Used By' (4 pieces from 2004/2005) - TAPE - Hum.Rec
2015 - 'Sacrée Obsession' - LP - iDEAL Recordings
I SAY / SOME SAY ...
2015 - 'Sacrée Obsession' - LP - iDEAL Recordings - Mulhouse, Nantes
Trois ans après 'Sticks, stones & breaking bones', Will Guthrie revient à la batterie (il n'a jamais arrêté) pour un nouveau solo qui continue d'explorer une physicalité du son dans la répétition et une dimension rituelle de la musique. Une idée de départ simple se développe dans une multitude inouïe où les jeux de masses et de volumes rivalisent de complexité. Et pourtant il est seul à jouer et il n'y a pas d'overbub ! Plus axé sur les gongs que le précédent, ce disque, qui n'est toujours pas à considérer comme un solo de batterie, ravira autant les amateurs de minimalisme que d'ambient, les accros à la trance que les fans de drone. 'Sacrée obsession' a été enregistré en 2014 à Mulhouse et 2015 à Nantes. 500 copies. Fortement recommandé !
2012 - 'Sticks, Stones & Breaking Bones' - solo - CD/LP - Antboy / Pourricords / Gaffer / Electric Junk - Rec in Le Havre 2011/2012
Recorded the 22nd of October 2011 & 7th of January 2012
by Emmanuel Lalande at Pied Nu – Le Havre, FR
Mixed & mastered by Emmanuel Lalande at Studio Honolulu – Le Havre, FR
"A few years ago, I picked up a duo recording on Matchless of a live concert with Eddie Prevost and Alex von Schlippenbach. I wasn't expecting so much, never having been a big fan of the latter's work, but I wanted to keep abreast of Eddie's playing. The hour-long disc was divided roughly equally between two solo pieces and a duo. As I wrote here, Prevost's performance absolutely floored me, Not just that it was great percussion (to be expected) but that it was great within an overtly jazz context, an area I'd all but given hope could ever excite me like that again. To be sure, it was an almost unique experience. The only music that's come close to delivering that kind of wallop for me while still deriving from jazz roots is that of The Ames Room, the trio of Jean-Luc Guionnet, Clayton Thomas and Will Guthrie that has released two fine albums (that I'm aware of) in the past couple of years.
Well, Guthrie's gone and done it again. I remember talking with Will in Nantes some years back, much of our discussion centering around a shared love of the music of Roscoe Mitchell. Mitchell's one of dozens (hundreds?) of people name-checked on the inside sleeve of this release along with (to pick at random), Mattin, Chewbacca, Diana Ross, James Brown and Eric Gravatt. What come through here, however, in three pieces, is something very akin to Prevost's set in at least one respect: Lessons learned in terms of structure and pacing, almost like some diabolical amalgam of Art Blakey and AMM.
The disc itself is finely structured as well, leaping into things with "Sticks", which sounds like the Blakey/Olatunji sessions reinvigorated. Eight and a half minutes of thunder, roiling, deeply grooved, wonderfully cadenced, initial hanging clusters tumbling into roll upon billowing roll. This is dextrous music. This is virtuosic music. And yet, it doesn't preen, isn't overweening. There's such an openness about it, such an obvious joy in the playing that those concerns go by the board. "Stones" begins by regrouping, smaller sounds up front but just when you think, "Ah, this will be the spacey track", matter start boiling once again. Guthrie keeps things on a delicious low heat, scrapes and sticks spattering, metal ringing, slowly coalescing until the skins take over, heat kept at medium, but such subtle playing. Some of you may recall Barry Atschul's intricate solo feature on the Circle "Paris Concert" recording from 1971. This is kinda like that. But better. For 15+ minutes.
And finally comes "Breaking Bones". If there was one track here about which I'd been given a verbal description and would have thought, "No, that's not for me." it would have been this one. Guthrie jumps right in with a ferocious, pounding rhythm and nevr lets up, not once, for over 16 minutes. The piece just ripples, expands, contracts, cascades, drives relentlessly to its terminus, casting off dozens of cross rhythms, sub-rhythms. All skin, no cymbals until the very end. Gene Krupa channeled through Hamid Drake. On 'roids. It should have been too over the top, too in one's face, too overt. But it's not, somehow it's not. Much like the music of The Ames Room, it manages to bypass all those traps. I've no idea how, though I suspect it has something to with what I alluded to above: the sheer joy, the uncynical exuberance experienced during the music's creation.
2009 - 'Spike(s)' - solo - 7" single - Pica Disc - Brittany
Here is Side B of my 7" released on Pica Disc. I wanted to make 2 pieces, both 3 minutes each, using the same source material, being traditional music I ripped from various LPs of Music from Brittany, plus different recordings I made of percussion recorded by Miguel Constantino.
"Over the last decade or so Australian born now French resident percussionist and sound artist Will Guthrie has repeatedly demonstrated his ability to move between jazz, rock and quite musical realms and into more experimental directions using contact microphones and junk to create these incredibly articulate musique concrete sound pieces. It’s pretty clear that the guy can play almost anything. Spike-S is a 7-inch on Norwegian label Pica Disk. And it’s mental. The first side is an all out assault of kick-ass pedal to the metal kit drumming. He pummels those bastards under a noisy drony mess of raw searing noise. It’s some kind of urban frenetic free jazz that feels like it’s wafting in from a window in a nameless city, competing with multiple urban sounds and at the mercy of the breeze. It feels like it was recorded in a sock, all gritty dingy, ill defined, lo fi distorted. I had to check if my needle was on its way out.
Side B feels like the same piece, haphazardly cut up and jammed almost subliminally into a musique concrete piece, under all manner of bells, feedback pitches, whizzes and distorted static. It’s a non linear narrative that slowly builds into a wheezing, screeching cacophony that is abruptly cut and replaced by these strange mechanical hiccups. It’s here where Guthrie gets to play with his noisy toys and this electro acoustic work is dynamic, at times abrupt and highly textural. Yet there’s not a lot to hold on to. The process/recording techniques intentionally obscure the music – particularly on side A. Guthrie states that the melody came from a folk melody from an LP he discovered in Brittany and that both pieces share not only this but the same percussion. Yet you’d be hard pressed to work this out on your own. These are some very interesting but seriously out there recordings."
Bob Baker Fish - Cyclic Defrost
2009 - Will Guthrie / Martin Kuchen - split 3" CDR - Compost & Height - Brittany
Recorded in Brittany, France by Miguel Constantino, 8 july 2008, mixed by Will Guthrie.
Drum kit, percussion, objects, contact mic, hand held mic
Drums recorded with two overheads and bass drum mic, one hand held contact mic through a cheap guitar amp, one hand held cheap karaoke mic through an expensive guitar amp. 3 ways to diffuse and record the one take, no edits.
"The disc is the eleventh and penultimate release in the Compost and Height spilt 3? CDr series, this one pairing solo pieces by percussionist Will Guthrie and saxophonist Martin Küchen. Compared to his approach on what has been previously available on CD by Guthrie, the six minute long Drum Piece sees a slight departure in his choice of instrumentation. Rather than the table full of metallic detritus, springs and broken electronics that he usually sits behind, here Will plays a more conventional drum kit, with added objects and small percussion, but also with a cheap karaoke microphone held in one hand and a contact mic gripped in the other. The set was recorded by mics overhead, but presumably the input from the two forms of handheld microphone were also mixed into this recording, giving the final work a grungy, earthy feel. Maybe it is in part this gritty edge to the recording that helps make the piece sound just like a Will Guthrie piece despite the change in instrumentation, and despite the fact I have only ever heard him play with his more electronics based kit.
There are certain musical phrases in this short piece, little pieces of individual syntax that hark straight back to my close understanding of Guthrie’s solo music. Whether it is the way things are left to shudder to a halt, the way that a series of grey scrapes and metallic grazes are often followed by a metallic chime of colour, or just something about the fidgety pacing of the piece I’m not sure, but I would have instantly identified Will Guthrie as the musician behind this piece in a blind test. This is not a criticism at all either. Its a compliment to the musician that his music is so non-derivative that it can easily be indentified as his.
So it is itchy, scratchy, eager music that constantly nudges at you, poking and prodding the listener, not allowing anything to settle, constantly changing, different types of sounds placed against each other in quick succession as part of the flow. Although the music has a good pace to it and a natural momentum it isn’t rhythmic as such. there are actually very few occasions where a drum is properly struck with anything. All in all Drum Piece is very good, not the grade A Will Guthrie we have come to expect from other releases but a piece of music that stands up on its own at the same time as being something of an experiment."
Richard Pinnell - The Watchful Ear
2006 - 'Body and limbs still look to light' - solo - CD - Cathnor - Nantes
If distortion and overload are the grit that leads to the pearl in the oyster, Will Guthrie's incisive editing hand offers a resolute knife-hold to separate the gem from its clammy casing. Anyone who's seen Guthrie live in recent times would be aware of how brutal his performances can be, maxing the volume while unleashing rough, unruly swarms of detourned electronics and manhandled percussion that move the air in the room. More interested in grain than drone, privileging volume and physicality over undemonstrative reductionism, Guthrie edits and arranges for maximum impact. He's interested in dirtied sound, dropping chunks of asphalt-texture feedback through Body and Limbs' opening tracks "Taken" and "Peak", the latter of which opens with the pedalling of the dial of a radio, the broadcasts swathed with static. Towards the end of the disc's final piece "Withdrawal", Guthrie scours away layers of sediment, allowing a recording of raspy breathing to briefly assume centre stage. This gesture personalises the tension in proceedings: though it sounds meticulously planned and obsessively edited, Guthrie hasn't sucked the lifeblood out of these three compositions, which lends them an exploratory, sometimes anxious air. Indeed, as has been noted elsewhere, its searching nature initially comes as a surprise after the brutish swagger of 2005's musique concrete masterpiece Spear, released as a limited CD-R on Guthrie's own Antboy Music label. I can't help but think of Body and Limbs as content to Spear's form - the latter as the decisive formal shift that allowed for the exploration and elaboration of the former.
Jon Dale - Paris Transatlantic
2005 - 'SPEAR' - solo - miniCDR - Antboy - Nantes
SPEAR was composed in the studio to combine sound material from percussion, radio sine-waves, noise, electronics and cheap concrete-sound. It contains sound recorded in London, that recorded sound was then used in a live performance in Bologna and recorded, then chopped, combined, subtracted and added to in Nantes.
ok , i'm looking to write in a us/australian (ugly) style
juste listen your music on Ant
i really like wat you do (sorry i'm not a cock sucker , it's just the fucking truth ) the cd you send me ( spear) is a full piece of energy and dynamic in a short time , not a long shit of poor noise like many people do actualy (i really love small pieces)
in generaly i totaly hate the "new noisist young generation" (are you ?)because they just do crap and artefact from stuff deja vue (so many clones of voice crack and otomo etc etc ..) and what ? nothing ...du vent
i'm not happy with improvisation (when i play) it's not my fucking tasse de tea (j'ai du mal ...)(exept when i improv with friends like sun plexus guys or other friends) but , composition with concret sound / noise stuff ..;oh yes this is the great stuff i like
but i like some of impro killer like definitely BORBETOMAGUS or Nihilist S Band, Albert Ayler Rudoph Grey ......
because they do (some are dead...) full luminous energy with no border or influence
looking to order all the records on AnTbOy, what is the creepy price
borgito sneba B"
2003 - 'Building Blocks' solo - CD - (antboy-04) - Melbourne
Recorded, edited, mixed and mastered by James Wilkinson.
3 tracks, two recorded at Wilkisound, and pieced together in the studio, one recorded live at the Melbourne gallery WESTSPACE where at the time many concerts of experimental music happened.
On this disc I used percussion, amplification, objects, the cygnet, motors, record player, toys ...
"Over the last several years, I’ve been hearing more and more fine electro-improvisatory music emanating from this strange continent called Australia, a place situated, I’m told, somewhere south of China. While I’m hesitant to draw any overarching conclusions (I understand that more than several thousand people occupy this territory, after all), I do tend to hear something of a consistency with regard to both drones and a subtle tonality—rarely (so far) have I encountered the sort of rough-cut, atonal herky-jerkiness that one hears elsewhere even when the music enters the rarefied air sometimes ventured into by, say, Philip Samartzis.
These two releases on Antboy are great examples of what’s been occurring: two recordings by hitherto unknown-to-me musicians that more than hold their own with most of what currently appears emanating from the usual suspects and realms. Will Guthrie’s solo effort, “Building Blocks”, is a wonderful exercise in solo amplified percussion as well as various toys, machines and whatnot. Awash in drones, he nonetheless maintains a scrumptiously rumbling undertone, always reminding the listener that, at heart, we’re dealing with struck objects. Guthrie goes for a very full sound, something that befits his personal history as a student of Tony Williams. There’s almost ceaseless activity, constantly churning, as one has the impression of peering into some alien hive bubbling with industry. He has a marvelous ability to coalesce a wealth of seemingly casual sounds, events that have no apparent relationship, into an entirely convincing, cohesive whole, as is the case on “Eleven”, the briefest of three tracks here. This and the first piece, “Blanket” were recorded in the studio while the final selection is a live performance and a lovely spatial expansion, a gorgeous mix of dry clatter and resonant clangs, underscored by subtle drones. It’s an excellent, fascinating disc and one of the finest solo percussion albums I’ve heard in recent years."
Brian Olewnick - Bagatallen
2002 - 'Rose Coded' - solo - CDR - (antboy-01) - Melbourne
My debut solo release, and the launch of my label Antboy Music. 2 improvised solos for drums, percussion, whistles, banjo, Rod Cooper bass instrument and objects etc.
Tim O'Dwyer launched one of the most terrifying questions of my life, would I like to do a solo concert at the upcoming MIUC festival, the first I had ever done with the exception of a short Coltrane/Elvin inspired solo at my close friend Shaheen Razmara's untimely funeral (RIP) in 1996.
The first solo from the Make It Up Club, I used an extended drumkit. As it turns out I wouldn't play another solo concert behind the drums until 2010. My ties to playing the drumkit in this context at this time was becoming too frustrating. I was stuck, boxed in by my technique, by what I knew and my history with the instrument, so for the second concert at What Is Music? I was done with the kit.
I set up on the floor, with a bass drum in front of me, and all the other percussion, objects etc surrounding the bass drum. I started using the bass drum as a sort of amplifier for the objects, placing them on the skin and playing them this way, also I started using Rod Cooper's home-made instruments, for this concert a 4 stringed bass object. I was listening to percussionists such as Eddie Prevost, at this time, but also a lot of Hans Reichel, Oren Ambarchi, Tony Buck, Roscoe Mitchell, people who made solo music that didn't sound like aimlessly wandering improv.
For me this concert was pretty clumsy, but a land mark concert for me moving forward.
It is also the first time I met Adam Sussmann and Matt Earle.