In Praise Of Monkeywrenching, by Raising Holy Sparks

In Praise Of Monkeywrenching

by Raising Holy Sparks

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Was Ist Das? Jooklo-Ra punk honk jazz bangers Favorite track: In Praise Of Monkeywrenching I.

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	1.	In Praise Of Monkeywrenching I 08:55
	2.	In Praise Of Monkeywrenching II 06:42
	3.	In Praise Of Monkeywrenching III 16:23

about

'Raising Holy Sparks is David Colohan playing music with quite a variety of people on quite a number of records. He also plays quite a number of instruments on quite a variety of styles of music on those records. I think the words I’m looking for are “creativity” and “talent.”

For “In Praise Of Monkeywrenching, In Memory Of Edward Abbey…” he plays with drummer Enda Trautt and the two of them create a mighty free jazz noise. They jump out of the gate in fairly aggressive fashion, drums and sax speeding along. While there are moments where one or the other takes a bit of a “breather,” the music on the first two tracks maintains a level of energy and forward momentum. The third and final number reins things in a little bit compared to the first two; while it has its momentary bursts, overall it felt a little more measured and almost plaintive at times. These two musicians make a nice racket together. Maybe RHS is creating some of the anarchy, musically, that Abbey applied to environmental activism. Or maybe it’s a simple case of free your mind and your jazz will follow.'
alberttrapezoid.com

“Wilderness is not a luxury but a necessity of the human spirit, & as vital to our lives as water and good bread. A civilization which destroys what little remains of the wild, the spare, the original, is cutting itself off from its origins & betraying the principle of civilization itself.”
― Edward Abbey, Desert Solitaire

David Colohan - alto saxophone
Enda Trautt - drums

Recorded live in The Doghouse, Rath, July 2013.

In Praise Of Monkeywrenching, In Memory Of Edward Abbey...

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released October 6, 2013

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David Colohan Ireland

'An eerie loveliness that should really be soundtracking a Werner Herzog film; indeed Popol Vuh’s work provides a useful reference point as, similar to Vuh, the music herein is almost religious in its solemnity and grace.' The Active Listener

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