Recorded in August 2000 at Church of the Advent, Boston and Twisted Village Records, Cambridge and in March 2001 at Zeitgeist Gallery, Cambridge and Massachusetts College or Art, Boston.
Front cover artwork (reproduced above) by Audrey Lescalleet; design by Friederike Paetzold.
Over the last few years, the Boston/Cambridge improv scene has emerged as potentially the most exciting in the US. Greg Kelley and Jason Lescalleet are two of the most compelling figures in this scene.
Kelley, a stunningly original trumpeter, graduated from the Peabody Conservatory of Music in 1995. He has since garnered much praise for his unique vocabulary of extended techniques and timbral manipulation. In 1998, Kelley began a pattern of dedicated touring, performing throughout the United States, Europe, and Japan. These travels have led to numerous collaborations, including ones with Anthony Braxton, Paul Lovens, Keiji Haino, Eddie Prevost, Kevin Drumm and John Butcher. Kelley is best known for his work in the duo nmperign with Bhob Rainey and for his breathtaking solo record on Meniscus, simply titled Trumpet.
Lescalleet has been working with different styles of music for over a decade, focusing on the use of tapes for much of that period. In live performance, he uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology. He blends layers of ambient tapeloops, moving through levels of silence and white noise, all transformed through cheap microphones and trashed speakers. For his studio work, Lescalleet uses the computer as a processing and organizational tool. He has worked with such wide-ranging artists as Francisco Lopez, Donald Miller, Achim Wollscheid, and John Hudak.
Kelley and Lescalleet first met in early 1998. The following year, Lescalleet joined nmperign for the first in a series of collaborations culminating in the release of a split CD, In Which the Silent-Partner Director Is No Longer Able to Make His Point To The Industrial Dreamer (Intransitive). Eventually, the duo project documented here materialized: the outcome of three years of enthusiastic aesthetic discussions, performances containing near silences one night or (literal) showers of sparks on another, countless phone calls and emails, and endless listening. Forlorn Green is the end result of four recording dates, two live collaborations, one recording of Kelley solo, and one recording of Kelley under Lescalleet's direction, employing uncommon recording equpment and unconventional techniques. Forlorn Green merges a remarkable variety of neo-industrial rumbles and incisive interruptions, all flawlessly fused and integrated, creating a lo-fi concrète masterpiece.