(Touching Extremes) KBD stands for (Michael) Kimaid, (Gabe) Beam and (Ryan) Dohm, that is to say the calm traffickers in charge of this manufactured article where "electroacoustic" is a designation that, more than anywhere else, finds a raison d'etre. As a matter of fact, the timbral array includes drums, percussion, signals, strings, horns, electronics, objects, trumpet, cello and no-input mixer. The trio prefers long-lasting courses to let their jargon evolve, the durations ranging from 5 to 31 minutes. The resulting potion is a very pleasurable one, in truth: spare instrumental touches and slices of freely resonant metal are often present, but soon substituted (or accompanied) by cycles of tones and hums that Tod Dockstader would approve with a sardonic smile. What the Cooperative does really well is "not exceeding": these guys do have a sense of self-discipline, which suggests them when a terrain has by now adequately explored, so they dispose of that interest and shift their curiosity upon something else, usually equally attention-grabbing. The purr and the clink, the static and the segmented, the logical and the unclassifiable live together effortlessly, making for a five-track assortment that bears frequent spins and by no means outstays its welcome, yet another attestation of the total impracticality of demarcating this label's scope of sonic accomplishment. - Massimo Ricci
(Ampersand Etcetera) The KBD Sonic Cooperative - Kimaid, Beam and Dohm on percussion, strings, horns, trumpet, cello, signals, electronics, objects and a no-input mixer. Four plus one refers to studio improvisations and a live track. This is a group that seems primarily interested in creating atmospheric soundscapes using the instruments as sound generators rather than playing 'music' - hence there is a squeaky wooden rubbing noise which could be a toy or a cello tuneing knob. In the studio pieces they focus on different aspects of their music; the long first is abstract and doesn't have many focussed group-playing sections, but is gentle, building slowly, clicks purrs scrapes percussion with an echoey processing at the end with something of a climax. The second is more active, particularly percussion and the wind sections, with less space and more instrumental playing, and some particularly nice long processed trumpet notes.The third becomes more active again, with more electronica to the fore, looping sonarish beeps tones and shimmers which plays along well with the trumpet; and the short fourth one has soft buzzsawscrapes and builds to a big percussive climax. Each of these is interesting, but my favourite track is the live one - almost half the album. Here the group plays within the constraints and expectations of a live set - providing more variation, a greater ebb and flow and maybe less indulgent. All the aspects of the group are on display - electronica, scrapes and nosies, brass - and provides an interesting ambience. None of these pieces 'go anywhere' but rather weave through a space of their own creation that is diverting - and at 80 minutes it is probably best consumed in two doses: the studio tracks or the live excursion. - Jeremy Keens
(Vital Weekly) Much less tracks - five in total - spanning almost the entire eighty minutes of a CDR, that's what you get with The KBD Sonic Cooperative, being Micheal Kimaid (drums, percussion, signals), Gabe Beam (strings, horns, electronics, objects) and Ryan Dohm (trumpet, cello, no-input mixer, objects). Welcome to the world of improvisation. The world of uncut improvisation, we tell the whole story of what happened that night to the three of us. Long pieces have fairly traditional improvisation. Free wind instruments, drums roll, a bit of electronics. Actually it's all quite alright, but after two tracks (already thirty minutes) the idea behind The KBD Sonic Cooperative is quite clear. The rest is for the diehard fans. - Frans de Waard
(KZSU Zookeeper) Avante improv, jazz-like in instrumentation (drums, horns, strings, 'objects'), mostly all acoustic, but use of effects and signals find their way in. Tracks meander and evolve, slowly, but mostly are amalgams of skronks and blurts and bonks and burps. Rhythms appear now and then, but nothing “songlike” at all to this. No track by track, except to point out that track 3 contains electronics, 5 is kinda noisier, dronier. Creepier. -Your Imaginary Friend
(Ragazzi) In Toledo, OH, bespielte THE KBD SONIC COOPERATIVE [four plus one] (eh?36, CD-R) mit Free Music. K steht für Michael Kimaid - Drums, Percussion & Signals, B für Gabe Beam - Strings, Horns, Electronics, Objects, und D für Ryan Dohm - Trumpet, Cello, No-Input Mixer, Objects. Die Drei nehmen sich Zeit, lange Geräuschfäden durch Nadelöhre zu fädeln, vor denen so manches Kamel schon den letzten Grashalm abgegrast hat. Es wird fast 80 Min. lang gerappelt und hantiert und mit elektronischen Impulsen der unrhythmischen Sorte operiert. Bei vier Studioimprovisationen plus einer halben Stunde live in Detroit stöbern die Drei ausgiebig und akribisch in den Ritzen und Fugen von Raum- und Zeitlosigkeit. Minutenlanges informelles Kleinkleinkramen wechselt mit minutenlanger tachistischer Krimskramserei, gepollockt wird auch, aber selten. Jede Improvisation ist zwar wieder anders anders und das Horn-Trumpet-Spiel bei ‚Untitled 8' ein willkommenes ‚Hallo Wach?'. Ähnlich wie das Einfache, das schwer zu machen ist, gibt es auch ein Solala, das spannend zu machen ist. Zuhören ist hier etwa so aufregend, wie jemandem beim Krimilesen zuzuschauen. - rbd
(Aiding and Abetting) That would be four studio tracks and thirty minutes of live madness. Yet another experimental, improvisational trio reviewed in this issue (maybe that's the theme of the month!), and once again, solid work. KBD tends to do its best work with silence, if that makes any sense. These boys have a fine sense of how to use sound and, more importantly, the practical effects of quiet. - Jon Worley
(Kathodik) Michael Kimaid, Gave Beam, Ryan Dohm sono tre multistrumentisti di Toledo. Fusi insieme nel loro power-trio compongono il KBD Sonic Cooperative: non un difficile anagramma da decifrare, ma semplicemente le tre iniziali del cognome, messe lì, una accanto all’altra per fare da sigillo ad una cervellotica cooperativa di suoni non-omologati. “Four Plus One” è il full lenght della prima ora, e come tra le righe suggerisce il titolo, trattasi di un archivio disomogeneo di incisioni al chiuso (quattro piste senza titolo) e di estratti live (pensate: solo una ‘misera’ traccia di 31 minuti?!). Il KBD fa largo uso di materiali moderni (electronics, segnali, no-input mixer e oggetti autocostruiti) ma lascia predominare nelle improvvisazioni il caldo rumore acustico cagionato da batteria, percussioni, corde, tromba, corno e cello. Anche se scaturisce un pizzico di disorganica indecisione, il mood utopizza in un solo format l’elettro-acusmatica metalloide dei Repeat (rimembrate Jason Kahn e Toshi Nakamura preso proprio dal suo no-input mixer?) e le dissezioni estreme – in specie alla tromba – dei cari Nmperign. Lunghi soundscapes, connessioni tra forme più o meno concrete (realismo free-from) e plateali discese nell’astrazione elettro-acustica tout-cour. Da timbrare col bollino Doc la prima suite (Untitled 11) con tanto-di-tromba che si farà ricordare per le sue esplorazioni nelle bollenti viscere interne. Come se il viennese Franz Hautzinger suonasse alla cornetta il suo grigio noise circondato da un orchestra di oggetti e da screpolature elettroniche.
Improvvisata spaziale - Sergio Eletto
(Dead Angel) The cooperative in question is Michael Kincaid (drums and percussion), Gabe Beam (horns and electronics), and Ryan Dohm (trumpet, cello, and no-input mixer), and the five tracks presented here -- four of the recorded in the studio, one recorded live -- are all classic examples of free improv on the fly, using mostly traditional instruments to achieve unusual sounds in a decidedly untraditional context. This is improvisation that favors subtlety, minimalism (for the most part), and the extensive use of space along with creeping dynamic shifts. Much of the time there's not much happening at all -- quiet phrases emerge at low volume, an instrument makes some noise, then it all settles back into silence broken only by the ambience of their surroundings -- although when they start to work their mojo, there are times when things get relatively busy, although never to the point of resembling anarchy. The four studio recordings offer different opportunities for the various players to take the lead, and to explore different strategies and sounds in their improvised assault on minimalism. The live piece is not particularly different in concept from the studio pieces, although the change in location does give it a mildly different feel from the other tracks. It's an interesting collective with a measured approach, and the disc provides evidence of the ability to approach improvised sound from several different angles, all with intriguing results. - RKF
(Sea of Tranquility) I think that what The KBD Sonic Cooperative does with their sonic manipulations safely puts them in the experimental or avant-garde category. The approach that these three musicians from Toledo Ohio take with regards to their music is that it should be all about breaking it down and starting over again from scratch. Not to mention forgoing any kind of conventional rhythms or traditional song structures as well, as these five compositions concentrate solely on the exploration of sound and the many ways it can manifest itself. The music itself is minimalist in nature as the trio largely relies on just drums, a few wind instruments such as cello and trumpet, and a large array of electronic sounds and signals. As if the music itself isn't challenging enough to stomach all in one sitting, silence and their use of it, also adds to the overall creepy dynamics as well. The music here seems perfectly suited for either an abstract indie flick or a multi-media art installation. This isn't music to clean the house or to listen to in the car when you're stuck in traffic. That being said, I kind of dug this one as whole, even though I didn't 'get' all of it. A word of caution though, if you're not a generally someone who likes this kind of music then I would suggest you take a pass on Four Plus One. - Ryan Sparks
(We The People) Not many people know about the experimental band from Toledo, Ohio. Moreover, with the kind of music as they play. Honestly, i prefer bands like this who released his work into the form of a video rather than audio, because I think in the context of experimental music, the process is a main thing more than the result. To enjoy the process, will be more detailed when we could see through the audio and visual. Most people would agree that in an album the band that plays music like this, almost all such similar material from one track to another track, even from one band to another band that's rather difficult to distinguish. The point is, if we do not know and learn music like this, we will not like it. Ok, back to The KBD Sonic Cooperative. The genius man behind this project is Gabe Beam and Michael Kimaid, while two people to help them as collaborators, namely Colin Helb and Ryan Dohm. What are they doing here is very interesting and not excessive, they have a good sense of self discipline. They have a sense about the use of appropriate tools and sound even when they use the ambient part that makes their material feel comfortable in listening (for those who enjoy music like this of course). An interesting improvisation, without overkill. Very fitting. This is an improvisation that more emphasis to the minimalist and the extensive use of space along with a dynamic rhythm changes. The description was heavy? Well, that's how most bands like this looks minimalist but instead it the essence becomes very deep when it assessed. Ah, or maybe my words are redundant? Maybe so, maybe not. Their release, (Four Plus One) released by Eh? Records contains 4 studio tracks and 30 minutes a solid live performance. At least proves that The KBD Sonic Cooperative was intending to release their best ability in processing sound in a "quiet room". They process it in such a way that improvisation created by the silence had been transformed into a field sounds, that fit in the ears. Without sounding too much like a whose experimental bands, that sometimes output sounded deafening. This is a friendly noise. Sorry for my conclusions, but you must know this sounds to enjoy. Without it, you just listen to something that is empty without meaning. - Indra Menus
(Bad Alchemy) In Toledo, OH, bespielte THE KBD SONIC COOPERATIVE [four plus one] (eh?36, CD-R) mit Free Music. K steht für Michael Kimaid - Drums, Percussion & Signals, B für Gabe Beam - Strings, Horns, Electronics, Objects, und D für Ryan Dohm - Trumpet, Cello, No-Input Mixer, Objects. Die Drei nehmen sich Zeit, lange Geräuschfäden durch Nadelöhre zu fädeln, vor denen so manches Kamel schon den letzten Grashalm abgegrast hat. Es wird fast 80 Min. lang gerappelt und hantiert und mit elektronischen Impulsen der unrhythmischen Sorte operiert. Bei vier Studioimprovisationen plus einer halben Stunde live in Detroit stöbern die Drei ausgiebig und akribisch in den Ritzen und Fugen von Raum- und Zeitlosigkeit. Minutenlanges informelles Kleinkleinkramen wechselt mit minutenlanger tachistischer Krimskramserei, gepollockt wird auch, aber selten. Jede Improvisation ist zwar wieder anders anders und das Horn-Trumpet-Spiel bei ‚Untitled 8‘ ein willkommenes ‚Hallo Wach?‘. Ähnlich wie das Einfache, das schwer zu machen ist, gibt es auch ein Solala, das spannend zu machen ist. Zuhören ist hier etwa so aufregend, wie jemandem beim Krimilesen zuzuschauen.