Oliver Coates

Edition of 300. Brilliant, mad intersection of No wave primitivism, cello sensitivities and possessed vox, the first proper collab between important lynchpins of the UK avant-classical nexus; Oliver Coates and Laurie Tompkins. If you're into anything from Mica Levi to Jandek, this ones for you... Very few fukcs are given by Coates & Tompkins on Ample Profanity; a let-it-all-out session of deviant, punkish avant-classical composition hallucinated and expectorated by two prodigious talents, released just a few weeks before Oliver Coates excellent 'Shelley’s On Zenn-La' album for RVNG Intl arrives this September.

Oliver does his thing on cello and FX, while Laurie supposes and composes on keys, tapes and samples, over which the pair of them sing, if your definition stretches that far. What we can agree on, though, is that Ample Profanity is a steaming pile of madness quite unlike anything else in circulation right now.
Still feral from his cultishly acclaimed Heat, War, Sweat, Law album, Laurie is matched by a usually more collected Coates, who seems to revel at the opportunity to freak out properly as an adjunct to his solo work and collabs with Mica Levi.

Kicking off with Sniffin’ Samgh, a possessed study in primal vocals and lurching, yelpy strings, the session turns variously thru quieter, asymmetric ideas in Peejayargh to cough up its spicy noise guts in RP Beal, before they settle into a call-and-response of quizzical sighs and plucks on Lime Rugis, and set about hacking up a wickedly dissonant tussle between no wave guitars, intercepted phone calls and edge-of-sanity blasts into the void with Charterhouse, Vinci.
It’s maybe not what you might expect from a former winner of the Royal Philharmonic Society’s Young Artist Award 2011, and a graduate of the RNCM, or maybe it is. Either way, Ample Profanity is beautiful and f*cked up in equally satisfying measures.