Jealousy Mountain Duo

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US Tour February 2016

Spain Tour December 2015

GB Tour September 2015

Nein, leicht bekömmlich ist die Musik des aus Schlagzeuger Jörg A. Schneider und Gitarrist Jens Berger bestehenden Duos wahrlich nicht. Und doch wohnt den so komplexen wie verschrobenen acht Instrumentalstücken eine seltsam beflügelnde Verve inne, die sich nie ganz zwischen Heiterkeit und dissoziativer Hysterie festlegen mag. Eine Frucht der jeglichen sportiven Virtuositätsgestus meidenden, dabei allerdings ausgesprochen hoch entwickelten Spielkultur der beiden Musiker. Denn wie das Schlagzeug sich auf Torkeltour dies- und jenseits des Metrums begibt und sich dabei von einer Gitarre umschlängeln lässt, die ihre Klänge mal sachte und vermeintlich wahllos dahintupft, um sich dann in spasmisch bohrende Free-Noise-Dissonanzen aufzulösen – das zeugt nie von ausgestellter Grandezza, sondern von Abenteuerlust und quecksilbern flirrendem Freiheitsdurst. Dabei atmen JMD einen ähnlichen Spirit wie die deutlich hektischeren Hella und, als dunkler Gegenpol, Caspar Brötzmann, allerdings ohne dessen Hang zu mürrischem Theaterdonner. — intro Germany

German two-piece, Jealousy Mountain Duo have dropped their latest album, N°_03. What follows in the eight track long spiritual journey is somewhere between a modernist interpretation Kurosawa film score and the abstract ramblings of a mad sage in his hilltop shrine. If that comparison sounds like it doesn’t make any sense, that’s because it’s tough to put Jealousy Mountain Duo into words. Fluctuating between minimalist deconstructions of Jazz, 80’s and 90’s alternative rock riffs, and the prototypes of math rock, with thorough disregard for regular timing and meter, N°_03 delves into the quieter realms and wants to familiarize you as much with the spaces in between notes as the ones that are played.

As cool as the mellow-yet-sporadic deconstruction tracks are, the high points of the album for me were when Jealousy Mountain Duo laid down a solid groove and shut down any cries of doubt that they might be anything less than masters of their craft. ‘The Rincon Pio Sound’ and ‘Roadkill’ were particularly stellar examples. If you dig the two-man diatribe of bands like Lightning Bolt or Hella, but want something a little twangier, with a smoother finish. — feckingbahamas

CANADA TOUR APRIL/MAI 2015  → 

FRANCE/BELGIUM TOUR JUNE 2015  → 

WE ARE ON THE NOVEMBER 2014 WIRE TAPPER ...

US TOUR OCT/NOV 2014

EUROPEAN TOUR APRIL/MAY 2014
ENGLAND DATES WITH DON VITO
ITALY WITH LES SPRITZ

JEALOUSY MOUNTAIN DUO SPLIT WITH DON VITO
7 INCH COLORED VINYL LIMITED EDITION OF 200

CANADA-TOUR 2013 SEPTEMBER

Jealousy Mountain Duo, no 2: Raus aus dem Knast Deutschland und einfach mal monatelang durch die Staaten getourt. Respekt vor dem schräg psychedelischem und arty vertrackten duo aus Dresden. Das muss man erstmal auf die beine stellen und durchhalten. Die Platte ist sperrig und ein enziger Trip. Avantgarde muss nicht immer Feuilleton bedeuten, Avantgarde kann es auch im Rock geben, Okay, ganz selten, aber in jedem fall hier! — Intro Germany

EU-TOUR 2013 APRIL-MAY

TERRASCOPE UK: De-constructing jazz and post-rock with avante garde intent, German band Jealousy Mountain Duo create complex yet very listenable music on their second album “No 02”, (no prizes for guessing what the first one was called). Overloading on percussion and featuring some inventive guitar lines “Home of Easy Credit” sets out their stall early, with “leaf Kickers” layering some Beefheart style riffs over the top of the rattling drums. Keeping to this sonic equation throughout , even on the slower vibe of “Ubertriebene Harte” gives the album great cohesiveness, something that suits the music, giving the listener to become totally absorbed, although the appearance of some very fluid and Doorsian guitar lines on “Latino Heaven” are very welcome. Finally “Don't Ask Me About Dresden” rounds of a rich and engaging album with a final flourish and a more sombre tone. — Simon Lewis

Jealousy Mountain Duo est un... duo qui fait du bruit, certes mais pas au même niveau. Leur credo, le bruit libéré des contraintes terrestres mais sans faire le grand huit du n'importe quoi. Et sans le volume à fond. La batterie crépite, la guitare dessine des boucles et même pas peur. Des effluves free-noise de Storm and Stress, cette (fausse) impression d'improvisation sur des compos qui doivent sûrement contenir leurs parts d'impromptu mais dans un cadre construit, des échappées free-jazz et surtout un agréable sentiment de fluidité et de légèreté.

Enregistré sur un 24 track tapemachine, sans overdubs, avec un vieux kit de batterie jazz et de très bons micros, dixit le groupe allemand, le rendu de ce deuxième album met le chaos en poésie. On connaît la force de frappe de Jörg A. Schneider, sa capacité à saccager une pauvre batterie. Il est doué aussi pour la subtilité, pour les trépidations agissant par vagues, jouant sur la dynamique, variant l'intensité, donnant parfois l'impression d'en foutre partout avant de se réfréner et de faire preuve d'une incroyable créativité. A la guitare, Jens Berger n'est pas du genre à faire la démonstration d'une technique virevoltante et d'une utilisation éhontée d'un rack d'effets qui serait large comme un terrain de football. Dans sa pédale loop, il met en avant son cœur plutôt que des doigts tentaculaires s'escrimant sur des boucles stériles. Il glisse ainsi des paquets de bouts de mélodies superbes faisant décoller la musique du duo vers d'autres sphères que l'énième groupe math-rock instrumental bruitiste. Les parties de guitares s'imbriquent harmonieusement, tour à tour erratiques ou divaguant tranquillement, retombant toujours sur ses pattes. Les textures sont riches, les sonorités sont surprenantes (Dallas Summer Song) et les notes font rêver. On croirait même parfois entendre comme une trompette (la fin de Bergneider) ou un violon sur Latino Heaven, compo superbe sur laquelle on est pas loin de la lévitation au même titre que le final Don't Ask me about Dresden. Sur un tapis de rythmes nerveux et inventifs, ce guitariste est pour beaucoup dans la finesse et le plaisir grandissant d'un album révélant tous ces trésors au fil des écoutes. A l'instar de la pochette, recto et verso, la musique de Jealousy Mountain Duo est chaleureuse et troublante. Laissez vous faire… — SKX (16/10/2012)

Jealousy Mountain Duo — The Home of Easy Credit, the second longplayer in as many years from German instrumental no-wave outfit Jealousy Mountain Duo, is slightly more cantankerous, slightly more abrasive and aggressive than its calmer, more contemplative predecessor. More akin to Asheville avant-garde duo Ahleuchatistas than hyperactive megabashers Hella, Jealousy Mountain Duo crams a great amount of ideas in Home, guitarist Berger augmenting cacophonous loop layers with rich swells and wispy glissandos, building melodies vertically in complicated, sometimes microtonal figures. Drummer Schneider augments Berger’s complicated figures with those of his own, meticulously and tenaciously working through complex jazz barrages, paying extra attention to shifting dynamics to drive the duo’s tightly controlled chaos. It’s rare to hear mathy music that sounds simultaneously composed and loose, but Home, for all its moving parts, still offers plenty of room for its musicians to breathe, and their interplay is often perfect. Intense and deliberate, Jealousy Mountain Duo offers great challenges, but it also offers great rewards. — P. Wall

Jealousy Mountain Duo — Two-man German band Jealousy Mountain Duo's self-titled longplayer was released by experimental German label Blunoise, a perfect portmanteau of Jealousy Mountain Duo's disparate '60s jazz and noisy, math-rock influences. Jealousy Mountain Duo takes a deconstructivist approach to its experimental blend of post-modern jazz and mathy indie rock, its guitars looping looping and conflicting melodies, its drums working in and out of rhythms, eschewing any semblance of straightforward timekeeping for an abstract counterbalance to the swirl of notes and tones. The result is tightly controlled chaos, a sonic maelstrom where form doesn't necessarily follow function. This, truly, is radical stuff. In both senses of the word. — P. Wall

US-TOUR OCTOBER/NOVEMBER 2012

WE ARE FEATURED ON THE WIRE TAPPER CD OCTOBER ISSUE

WEED TEMPLE

Jealousy Mountain Duo walk the line between improvisational chaos and beautiful, captivating semi-melodies.

In keeping with the math rock and free improv traditions, the music here is technically proficient, the rhythms are tight and the snakelike guitar noodling precise, but there is always place for playfulness and a specific sense of humor - like the wonderfully Don Caballero-esque titles "David Has Awesome Hair" or "A Song Without Handclaps". Berger and Schneider create some intense chemistry here, jumping from slightly muted, calmer interludes to fully blown out, chaotic maelstorm further propelled by maniacal drum patterns, that follow each other like a late Autechre (late, as in Untilted late) jam rewritten for drums and guitar. Clusters of seemingly chaotic guitar notes range from somewhat pastoral (like a distant cousin of Tortoise) to aggressively distorted and mangled, channeling a slightly less amplified Keiji Haino at his finest - although even more random and unpredictable.

If you enjoy improvised guitar vs. drum duels in the vein of Matta Gawa (but not as lo-fi) and abstraction of highest order without much idea of direction (in the most positive sense, of course), then this is essential listening.

NEW VIDEO ROCK THE BEACH

KULTURTERRORISMUS

Free Jazz mit Math-Rock Einflüssen, eine durchaus schwierige Fusion, die uns das Deutsche Duo Jealousy Mountain Duo mit ihrem Debüt "No_1" auftischt, woran Mehrheitsohren garantiert verzweifeln, hingegen Freunde der sperrigen Klangcollagen dürften in "No_1" ihr Heil finden, das von Anfang bis Ende in Atem hält.

"No_1" erblickte über BluNoise Records das Licht der Welt, welche den Erstling von Berger & Schneider hinter dem Jealousy Mountain Duo als formschöne Vinyl auflegen, zudem besteht die Möglichkeit die Veröffentlichung als Download (Bandcamp) für schmales Geld zu erhalten.

Geniale Instrumentalisten wie das Jealousy Mountain Duo benötigen keine Gesangslinien, um ihre "Message" zu vermitteln, weshalb der Fokus ausnahmslos auf Gitarre & Schlagzeug ruht, welche in identischer Gewichtung die Tondokumente auf "No_1" ausfüllen. Thematisch scheinen uns die Herren an ihrem Leben teilhaben lassen zu wollen, wo Strand, Surfen, Banalitäten, Chaos usw. auftauchen, die sie in verquaste Töne transformierten, wo ein Hördurchlauf nicht ausreicht, um den wahren Kern von "No_1" zu erfassen, der bei intensivem Konsum totale Entspannung vom trüben Alltag beschert. Meinem bescheidenen Verständnis nach, verstehen Berger & Schneider ihr Handwerk, deren Strukturen kontrolliertem Chaos ähneln, das totale Freigeistigkeit fordert, aber sich innerhalb gewisser Parameter/ Grenzen abspielt, weshalb "No_1" auch für "Aussenstehende" in Auszügen hörbar bzw. stringent wirkt.

Bei einem derart komplexen Werk wie "No_1" verzichtet meine Person auf das Benennen eines Anspieltipps zugunsten der Feststellung: "Entweder Du liebst oder hasst diese Art Tonkunst, eine Grauzone existiert faktisch nicht!". PS: Wer technisch versierte Musik liebt, sollte "No_1" vom Jealousy Mountain Duo unbedingt antesten!

Fazit:
Anspruchsvolle Individuen erleben mit "No_1" vom Jealousy Mountain Duo ein teilweise chaotisch atonales Fest für die Ohren, das einen bleibenden Eindruck hinterlässt – meine absolute Empfehlung! PS: Überschneidungen mit dem Jealousy Mountain Duo bestehen bestimmt, aber sie reichen im Endeffekt nicht aus, um die Sounds der Herren zu charakterisieren, weshalb ich zu ausgiebigen Hörproben rate, weil meine Worte die Musik nur rudimentär beschreiben bzw. wiedergeben können!

KILLED in CARS Jealousy Mountain Duo

This album has moments of intensity, but it's a very intimate album.

Guitarist Berger plays with mostly clean tones, and these songs are built around his employment of a looping pedal, over which the duo builds slowly evolving compositions.

Using a looping pedal introduces a bit of a formula into most of these songs: typically a "bass part" or relatively simple riff is looped, and more complex parts are added over the top. But Berger mixes up his approach, sometimes looping higher parts first and performing lower riffs "underneath," sometimes looping rhythmically busy passages and playing long tones over them, and he continues to feed different parts into loops as the music evolves, sometimes recording extra parts toward the beginning on songs that don't get introduced into the songs again until much later, like the moments of intentionally microtonal guitar used in "Sidewalk Soul." Loops are sometimes used in reverse, too, adding a nice contrast in articulation.

Jazz influences seep into this record's drum work, sounding like a blend of Zach Hill and a Buddy Rich solo at the most hyper moments.

Schneider must be applauded for the quality of this recording, too, which is a sensitively captured live-to-1" tape affair. The drums are rich and warm, and the complex overtones of Berger's amp going into a touch of overdrive when it's overwhelmed with multiple loops is faithfully reproduced. This is one of those rare records that I'm guessing represents the sound of this band almost exactly as they are live.

Speaking of which, I was very bummed to realize that Jealousy Mountain Duo toured the US last fall--just missed 'em by a few months! Fortunately, they're planning another fall tour of the US for this year, and also hoping to make another record. If you're in the US, keep an eye out for Jealousy Mountain Duo dates around October. And if you want to investigate either of these albums in more detail, you can go to the Blunoise Records website, or you can find Jealousy Mountain Duo on Bandcamp. — Scott Scholz