AMM – Laminal

Laminal collects three separate concerts from three separate decades highlighting hand picked performances by the which had been previously unreleased. The early 5 piece line-up of the 60's, the three piece line-up of Prevost, Rowe, and Tilbury from the 80's, and a concert of the classic trio again during their prolific output era and "golden age" of the 90's.

The first disc contains the "Aarhus Sequences" recorded in Denmark, 1969, with the line-up of Cardew, Hobbs, Gare, Rowe, and Prevost. This performance for me is the crown jewel of the box set and the one I get the most enjoyment out of. It's the last recording of just three officially released performances of the 60's to my knowledge and in my opinion, the best. I don't know if most would agree with me, but I actually enjoy this performance more than I do The Crypt - 12th June 1968. It strikes a middle ground between the other two 60's performances in that it's not quite as abrasive as The Crypt but certainly still reaches those heights at times. There are certainly more periods of silence and contrast and the contribution of individual shines a bit more. I come back to this disc often.

The second disc of the 1982 London performance at The Great Hall is "classic" AMM with the Trio of Rowe, Tilbury, and Prevost. It's significant as I believe this is the earliest performance of Tilbury officially released as this predates Generative Themes which came out in 1983.This is my second favorite disc from the set and is an appropriate transition from the 60's performance on the first disc. The material here is still rather noisy and active. Rowe lays down a solid foundation of electronic and buzz with Prevost actively improvising over the top. Tilbury compliments the other two well without stealing the spotlight at first but becomes more active later on. This all eventually fades into a more subtle performance but always bubbles with activity underneath. With the addition of Tilbury, the group now develops a more undulating tone and explores more silence and space than they had in the 60's. A really enjoyable performance.

The third disc, recorded in New York in 1994 at Context Studios, is in my opinion underwhelming. It seems like a strange selection to have included in the set. The performance just doesn't quite sound like the group was as cohesive as most of the other released materials. That "telekinetic" connection that AMM is known for is missing and there is a more noticeable push and pull from each member. The material feels kind of meandering in places and the use of silence and space just isn't utilized to it's usual potential. You can almost sense some anxiety in the letting the piece get too quiet and trying to fill the air with busy noise, which is rare and I think it hinders the performance. This could just be conjecture, but I reading that Prevost had personally chosen this piece, and I wonder if the selection was biased as his percussion seems active and prominent during this performance.

Overall, despite the shortcomings of the third disc, Laminal is a recommended release in the AMM discography. The 60's performance is essential in my opinion and the 80's disc highlights an early live performance with Tilbury who was at the time, somewhat new to the group. Plus, the linear notes are extensive and an interesting read. Also, who wouldn't love to have this AMM hoagie artwork in their collection! I wish it was made into a poster.

If you're a fan of AMM's more abstract and lahar concerts, like The Crypt, then these three volcanic and essential eruptions are the place to have a blast. Abstraction is high, as is the excitement; and these are some of the most exhilarating concerts in this august institutions venerable discography. The first disc, with Cardew and Gare present represent the earliest, and possibly finest, line up with all the arsenal of free jazz sax and Maoist composition that the late 60's had to offer. The other two discs are less extreme, but brilliant.
If you're anything approaching a fan, get this. If not, a fantastic entry into their catalogue of delights; so get it.