The Parallelism label
Parallelism is an Austin based imprint originally created in 1998 for the purpose of releasing recordings by Air Traffic Controllers. Subsequent CD's by Army of Ghosts, anti:clockwise and the U-Sound, Vol. 1 compilation 2XCD have also been issued.
The label used to be based in a one of two very tall buildings in lower Manhattan. Now we that we have your sympathy, we would like to have your money.
Answers to Frequently Asked Questions :
Q) How Can I Procure Promotional Copies of Compact Discs from Parallelism?.
A) "Procure"? What's your fucking problem? Come back when you learn to talk like a human being.
Q) Does Parallelism accept demo submissions from aspiring artists?
Q) I've heard some of the recordings on this label and it all sounds like musical masturbation. What do you think of that?
A) Except for the "musical" part, you're right on the money.
Q) Why are most of the old Parallelism titles no longer available for mail order?
A) Because all of the label's overstock was destroyed in a giant fire. If you're giggling, this wasn't a joke. I hope you feel very bad about yourself for laughing at this sort of thing. Besdies, if you're so smart, you'll figure out a way to download them for free or find 'em going for super cheap on eBay.
Q) Why Do Birds Suddenly Appear?
A) I think we're done here.
The current lineup of this veteran duo consists of Gerard Cosloy (guitars) and J.J. Ruiz (drums). Mr. Cosloy is well known to fans of the alternative rock genre as a founding member of Scandal. He also served as the musical supervisor and technical consultant for the independent film, "If It's Too Loud...I'll Turn It Down : The Dick Urine Story" (Miramax, 1998).
Mr. Ruiz plays guitar for the Austin bands Naw Dude, Wild America and is a former member of The Teeners. Older biographies that pretain to older lineups can be found below :
this is the new biography that was sent to journalists and other stooges unwilling to pay hard cash for their copies of Whisper Number --- that's quite a few people, actually).
The fifth Air Traffic Controllers album, Whisper Number, is collaboration between U.S. guitarist Gerard Cosloy, and London-based drummer Jon Steele, previously heard as a member of State River Widening. Recorded live to mini-disc through the autumn of '99 and early portion of 2000 in a West London rehearsal space, this incarnation of Air Traffic Controllers marks a serious departure from prior recordings under the ATC marque. For one thing, there are no tin cans on this one.
With his playing closer in spirit to that of John Bonham or Rey Washam than his ATC predecessor Claire Pannell, Steele's drums are sampled in real time by Cosloy, who in turn, provides a guitar foreground that is equally rooted in metal (aluminum, occasionally copper) as it is in any improvisational tradition. But enough about the stand up routine; sometimes, audiences become hostile, even invisible, and for these reasons and others, the duo have managed to play precisely 2 live gigs in the space of 16 months. Steele didn't turn up for one of those, and it is within the realm of possibility that with an ample supply of batteries and cable, Cosloy might boycott the next show as well. Says the reclusive musician, "I'm not in right now, but if you leave your name and number, I'll do my best to return your call."
Taking inspiration from This Heat, Flowers Of Romance-era PiL, and Last Exit, Whisper Number is the most ambitious Air Traffic Controllers recording to date. While the album features more than its share of interplay between guitarist & drummer, many of the album's most intriguing moments result from a soundclash taking place between dueling samples, many of which are mutated beyond recognition from performances that have occurred mere seconds earlier. Whether this machinery presents itself as a compliment or competition, is for you to decide.
While upcoming performances seem unlikely --- at least until Gerard finds someone who sounds exactly like Jon Steele and or at least has the same initials (no sense in wasting all the monogrammed stagewear), new recordings by yet another version of Air Traffic Controllers will continue to emerge, as will periodic mp3's on the Parallelism website.
Mr. Ringo, manager emeritus, London, October 2000
(this is the old bio. you love facts and figures from days of yore, and now this is yours).
Air Traffic Controllers are a New York based improvisational duo, featuring guitarist Gerard Cosloy and drummer Claire Pannell.
Putting the "improv" in "improve", the Air Traffic Controllers live in different countries and communicate via mental telepathy (or the telephone). They have previously released 3 self-issued CD's on the Parallelism imprint. The fourth, Existence Period, features recordings of live performances, in-store appearances, radio broadcasts and rehearsals. Mostly rehearsals. While their last album, 1998's Assistant To The Assistant introduced the use of keyboards and live sampling to ATC recordings, the new album --- their first outside of a studio --- features guest appearances from saxophonists Chris Lauterbach and Ryan Noel (Army Of Ghosts, ARE Weapons). Joined by drummer Jon Steele (State River Widening), a new line up of ATC made their London debut this past August at Terrastock 3. Additional live performances are planned for early 2000, along with new studio recordings.
Claire Pannell is an Australian drummer, a veteran of the New Zealand noise-rock scene, and currently managing a dance company in New York City. She will soon be relocating to Australia.
Gerard Cosloy is a Massachusetts guitarist, a veteran of the New York jai lai scene, and is currently giving dance lessons in London.
"An improv guitar and drums duo, Air Traffic Controllers crackle and spark with energy. Gerard Cosloy's guitar spits out fiery globules in place of riffs and to avoid being stuck by one, drummer Claire Pannell freeforms some bafflingly unpredictable evading tactics. If Cosloy's guitar sounds and textures originated in rock, you wouldn't know it from the way he rattles them off." --- Tom Ridge, The Wire
"Cosloy's guitar playing isn't just update Sharrock-flail --- he regularly breaks for stretches of post-Verlaine reverb-pluck, quasi flamenco chord-strum, and even glimpses of pop...he also has some sort of looping/delay device going that maintains a steady, evolving undercurrent of lock groove mantra...these loops coalesce with Cosloy's real time note spinning and Pannell's near-beats to create a head turning mass of music." --- Matt Silcock, Strider News, January '99
"When Cosloy and Pannell get it right, they're terrifyingly intense...a terrific guitarist, and a drummer whose irregular battery is an ideal compliment." --- Douglas Wolk, The Wire
"an impressive duo...coming like some rebel campanologist,, building impudent guitar phrases into glorious, crunchy loops of sound." --- Joe Cushley, Mojo
"Air Traffic Controllers take a leaf from the book recently opened by the Lhasa Cement Plant and envelope their extreme noise experimentation and undoubted instrumental prowess in a healthy amount of good natured, dare I say, even humorous capriciousness." --- Phil McMullen, Ptolemaic Terrascope
"...a gorgonizing assault of guitar(s)'n'drums carpet-bomb frenzy. What I expected to be a sombre 4 track improv guitar bore-o-thon is in actuality more like a Hams reunion laying waste to a Total Music Meeting FMP invitational, decimating whatever little auditorium they were sanctioned to play in..." --- Tom Lax, Opprobrium
Women & Other Minority Groups, Vol. One (Parallelism CD, 1998)
The Art Of Looking (Parallelism CD, 1998)
Assistant To The Assistant (Parallelism CD, 1998)
Existence Period (Parallelism CD, 1999)
(Women & Other Minority Groups bio) :
The group was started by Cosloy in 1995 and included a number of guest musicians, none of whom lasted more than a few days. In the summer of '97, Gerard placed a classified advertisement in the Village Voice, and Pannell contacted him shortly afterwards. Unfortunately, the advertisement was an invitation to join a "cigars and uniforms club" and it took several months for either person to realize there was any musical common ground.
Cosloy and Pannell have performed at many venues around New York City, the Northeastern U.S., and most recently during a brief tour of the Washington and Oregon suburbs.
Claire Pannell has performed and recorded with a long list of bands, both in the U.S. and her previous home, New Zealand. Since this spring, she has also been booking the Clout Club series at NYC's Pink Pony (Ludlow between Houston and Stanton streets) and if you'd like to get in touch with her, she can be reached at email@example.com.
Gerard Cosloy is a long time fixture on the NYC experimental music circuit, often asking legitimate musicians questions about what kind of batteries they prefer, or requesting they pose for photographs with one of his 47 cats. Major influences on Cosloy's guitar playing include Ox Baker, Brian Baker and Donald Fehr.
Women & Other Minority Groups, Vol. One (PAR 001) and The Art of Looking (PAR 002) were each recorded this past December at Waterworks Studio in Lower Manhattan. Both CD's were done completely live with no overdubbing of any sort. Eager to utilize the most modern recording techniques, the group promise to attempt "lots" of overdubbing on a future session. These are the inaugural releases from the Parallelism label, an imprint that hopes to convince many that "parallelism" is not a made up word, as one local retailer has alleged.
Claire, waiting for Carlos to let us in to the rehearsal space.
Gerard, waiting for Carlos to let us out of the rehearsal space
ARMY OF GHOSTS
Brian Army, drums, vibraharp, words. Ryan Noel, tenor saxophone.
6/96 - Ayler's Angels formed by Brain F. McPeck and Matthew J. McAuley (drumset / alto sax) in Washington D.C.
summer / fall '96 - first shows in D.C. with housemates the Cranium and Cromtech, shows in Massachusetts with the Cranium.
Fall '96 - Angels record for split LP with THE FAKE HANDS (Matt and Brain's prior band from Amhest, MA) for the Hot Cars Warp Records imprint.
Late Fall '96 - Ryan Noel arrives in Washington from San Diego, acquires tenor saxophones and bass clarinet --- will soon join the Angels.
Winter '96/'97 - live performances in D.C. and Boston, MA.
January '97 - Never Morning LP recorded by and with "Super" Craig Schulhaur (double bass).
Summer '97 - Banned in D.C., exodus to New York City. (D.C. footnote : Matt, Ryan and Brain formed RUSSIA, which would know many incarnations, both in D.C. and New York where they momentarily were the apple of the art world's eye. Russia left with Matt, but Russia will never die. )
NYC September '97 - the Angels become the ARMY OF GHOSTS. Their first show is part of a Peter Brotzmann / T. Moore bill at the Cooler --- Matt and Ryan rush the stage, Brotz stands back and smiles.
Fall '97 - shows around New York (Pink Pony, Knitting Factory), and on the streets. Thank you to the NYPD for constructive criticism.
Winter '97/'98 - Ghosts play with Chicago tenor Kalaparusha, and Brain ends up in his duo. Kalaparusha calls the first tune "Ghosts" --- Albert Ayler, who knew?
1998 Events : Numerous shows with Air Traffic Controllers. Matt and Ryan lend saxophones to various Artworld situations. The Ghosts maintain a double life as RUSSIA, possibly terrifying some. Liz Bougatsos and the Druz make noise. Horrible noise. A bloody pool massacre. Matt goes AWOL during the summer heat. Love persists --- the Ghosts will not die. His spirit and attitude live on. Various shows at the Cooler, Club 16, Knitting Factory, Pink Pony, Brooklyn loft parties, pirate radio shows, etc. Ryan, Brain, Spencer Sweeny and Sadie Laska form NEON FRANCE, a neo-Fassbinderian nervous breakdown. Brain screams. Ryan and Brain record The Horror.
as Ayler's Angels:
Ayler's Angels / The Fake Hand, (Hot Cars Warp split LP), 1997
Never Morning LP 1998
as Army Of Ghosts
The Horror CD (Parallelism), 1999
aka Robert Dennis is better known, if known in the first place, as a drummer. He has bashed for a wide variety of has-greats, near-beens and scarcely-rans, most notable among them being:
Fire In The Kitchen
Tired of sitting down in the back all the time, he began standing up & playing with nyc improv/garage/psych trio Tono-Bungay. Operating a guitar, (an instrument with which he was entirely uncomfortable) caused painful shyness. Dennis began adding more and more gear to his rig, in order to build a more effective smokescreen. After a while, Robert realized that he had so much shit going on, that he wasn't paying attention to the other fellows in Tono-Bungay. This, coupled with their increasing complaints about carrying all their own equipment (plus so much of his), led to an agonizing reappriasel of the situation. Thus, was anti:clockwise granted "separate but equal" status in Robert's musical endeavors. Which made it easier to get even more equipment without hassle, but much harder to get to gigs. Which explains why there have been very, very few anti:clockwise gigs, but does not explain why half of them have been on the west coast.
In order to service requests to describe anti:clockwise, the term "uglient" was chosen as being most accurate. See the uglient manifesto for more details on what is "uglient". Robert has not entirely forsaken the drums, he still beats it for Eyeball 9,000 - a veritable supergroup featuring members of Fish & Roses, Mofungo, and The Scene Is Now. And Tono-Bungay fits into that tiny station wagon much more easily now, since the ascendency of anti:clockwise. in fact, going home from the last gig, they noticed they could even leave the rear seat up. further information as if this wasn't enough already is there for the taking at tensionheadache.
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