NYC-based composer, producer, and multi-instrumentalist Max Kutner returns with a sonic behemoth of a project entitled Rogue Lash on Orenda Records. The album exhibits a post-genre modernist sensibility rooted in ritualized repetition and abstract expressionism. Kutner treats sound as an evolving process or environment, rather than as a set of discrete songs. He uses repetition and groove as hypnotic or structural mechanisms emerging from a grand collage of funk, industrial, metal, and drone. Additionally, the music exhibits a meta-layer of socio-philosophical dimension based on Kutner’s satirized impressions of people, places and assorted phenomena while living in New York City.
The album was conceived during an extended hiatus from performance. While initially envisioned as a project for large chamber ensemble, Kutner shifted towards a “single-man” big band approach, working from home using extensive sample libraries, guitars, basses, keyboards and drum machines, and also remotely recording over a dozen different musicians in New York City, Los Angeles, Oakland, Portland, and Boston. One aspect in particular that separates this project from Kutner’s other albums is that Kutner mixed and mastered the entire set himself for the first time and entirely from his own home. Each of the ten tracks on Rogue Lash is a tiny world of sound unto itself that draws inspiration from classic industrial (SPK, Art of Noise, Nine Nails), progressive rock (Frank Zappa, Magma, King Crimson), IDM (Aphex Twin, Autechre), post rock (Tortoise, Slint), drone metal (sunn0))), Abruptum), and experimental hiphop (Clipping, MF Doom, Death Grips). Unfettered by the limitations of traditional recording scenarios dealing with studios, scheduling engineers and musicians, and limited equipment and also working without strict deadlines, Kutner was able to reach a new height of realizing his artistic visions. It is the purest expression of his thoughts.
Despite all of these innovations, many facets of Kutner’s style are retained and continued from prior releases. The sharp and sardonic gestures of each track are best reflected in their titles. “Navigating the Nepomatrix” refers to a class of silently affluent young adults that weave themselves into society while adding nothing despite bogarting societal privilege and available space. The “Waves of Middle Management (Marching)” on the third track characterize the plodding, futile strivers that aim to ascend through strict adherence to mindless dross in corporate environments. Humans aiming to continue colonizing the universe are ultimately just “Stardust Apes” pursuing the arrogant delusion of dominating things beyond their comprehension.
Finally, Kutner’s use of varied personnel throughout the album showcases a hitherto understated interest in community building across supposedly disconnected city scenes and locales. The aforementioned “Navigating the Nepomatrix” features an ensemble of four trumpets, trombone, tuba, and four saxophones, along with sarunay and drum set including Eli Asher, Joe Moffett, Dan Rosenboom, Kelly Bray, Curtis Hasselbring, Ben Stapp, Michael Eaton, Matt Darriau, Elijah Shiffer, Jessica Lurie, Tamara Yadao, and Colin Woodford. Elsewhere, the ecstatic “Wonder, TM” features legendary drummer Marc Edwards, an alumnus of the bands of Cecil Taylor, David S. Ware and Weasel Walter. The apocalyptic doom metal is anchored by five separate, full drum tracks from Portland, OR-based improviser, Mike Lockwood — who formerly worked with Kutner in the trio Evil Genius. Closing track “Safe Travels” features a choir of four soprano saxophones, all played by Michael Eaton. The inclusion of all of these musicians and many others grants the album a special nuance and character that makes for a singular listen across its 70-minute duration.