New York, NY, February 22, 2018 --(PR.com
)-- Brooklyn-based Texas transplant Colin Hinton’s knotty, propulsive, and thrillingly complex music sounds like he was bottle-fed Hudson River water from birth. A mainstay in the NYC Downtown avant/jazz/free/noise scene, he has worked with Ingrid Laubrock, Tyshawn Sorey, and Okkyung Lee.
On his debut full-length as a bandleader and composer, Hinton’s Glassbath channels the edgy jazz/rock of Jim Black's AlasNoAxis, the vast sonic landscapes of post-rock pioneers such as Mogwai and Godspeed You! Black Emperor, the post-hardcore/indie-rock of Dallas’ Red Animal War, and the audacious experimental jazz of Anthony Braxton, Henry Threadgill, and Peter Brötzmann.
With the leader’s passionate and deeply musical drumming at its core, the group honors Hinton’s duel allegiance to both the Texas indie rock scene and New York’s forward-thinking jazz community. Angular pulses draw the listener in, before abrupt left turns into frenetic abstraction turn expectations upside down. Reflective moments like the eerie, darkly beautiful tracks “Wasteland” and “The Great Heathen Army” further expand the album’s range.
Throughout Glassbath, Hinton’s more densely rendered and far-ranging compositions are interspersed with compelling miniatures (such as the atmospheric percussion of “Cobalt-60”), and feature pieces for his inspired collaborators (“Scorched Earth and Empty Playgrounds” is inhabited by Edward Gavitt’s dirty, desiccated electric guitar, while “Droplets” matches Peyton Pleninger’s warmly arching tenor work with a cascading bassline from Nick Dunston). The result is a multi-layered narrative that rewards repeat listens.
A prolific composer and intensely-focused performer, Hinton wrote the music for Glassbath in under two weeks, rehearsed the band, played one gig, and went into the studio for a single day. This is a group pulsing with raw energy, harnessed only by their remarkable musicality.