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Pet The Tiger -
Hail The Traveler
CD
1. Lunchroom Pet
2. Long Emergency
3. Mourner's Dirge
4. Under the Gun
5. Garden of the Gods
6. River of Terror
7. Surges and Tides
8. Victory of Breath
9. Dawn
10. The Underworld
11. Eaten Alive
12. Captive Soul
bandcamp
Lunchroom Pet
David Samas with Peter Whitehead
Gamelan Encinal: Stephen Parris, Daniel Schmidt, Derek Drudge, Kim Nucci, Sophia Shen, Patrick Liddell, Joel Nelson, Maria Siino, Lucas DeLeon
Elegy and Bardo
David Samas: invented instruments, voice
Tom Nunn: invented instruments
Bart Hopkin: invented instruments
Peter Whitehead: invented instruments, voice
Pahoehoe
David Samas: invented instruments, voice
Tom Nunn: invented instruments
Bryan Day: invented instruments
Susan Rawcliffe: original ceramic flutes
All of this music was composed and improvised by and for Pet the Tiger instrument inventors collective led by David Samas.
Lunchroom Pet was recorded by Stephen Parris at Littlefield Hall, Mills, Oakland California, 2018
Elegy, Bardo and Pahoehoe were recorded by Bryan Day at the Nunnery in 2017 and 2018 and mixed and mastered by David Michalak.
Photography by Paul Winstanley |
Reviews:
(Vital Weekly) The man behind Pet The Tiger is one David Samas, of whom I had not heard before, and for some of these pieces he receives help from various people, all creators of new instruments. These are Tom Nunn, Bart Hopkin, Gamelan Encinal, Peter Whitehead, Susan Rawcliffe, and Bryan Day. Pet The Tiger is also an ensemble; the information is ambiguous here. On Bandcamp, everything is labelled as "invented instruments", except Susan Rawcliffe playing "original ceramic flutes" and Samas occasionally using his voice. The music is mainly played improvised, but there is, perhaps, some coherent playing. Many evolve around scratching, scraping and
blowing on objects, strings, and surfaces. Yet, despite that, these pieces have quite an attractive amount of variation. Some pieces are drone-like, modern composition-like and some straightforward die-hard improvisation, occasionally erupting into noise ('River Of Terror'; appropriate title there!). There is even a folk song in the guise of 'Under the Gun', with elements of free improv but a song of pop music qualities. It shows the tremendous variation in approaches, which works well for this kind of music. Even when not every track is a winner per se, it works very well. This is a long album with nearly 70 minutes, but so be it. Overall a most pleasant trip, of which only one thing is lacking: the visual component. I'd love to see these instruments! - Frans De Waard
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