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Jason Lescalleet's Due Process, "Combines XIX XX"
We Break More Records
There's something slightly unlikely about the popular Due Processhybrid. The defiantly low-brow stance of the species 'ME Beauliea' withits comedic theatricals and jubilant confrontation contrasts markedlywith the seriousness, finesse, fastidious methods and criticalself-appraisal of the 'ME Lescalitus'. That this thought only occurredto me recently while watching Jason performing with Thomas Ankersmith,a musician perhaps even more intensely serious than Jason, clearlyhints at the success of the hybrid and reminds us that in breeding, asin marriage, comlimentarity can be as important as commonality. RonLessard's solo performance as Emil Beaulieau looses much from the lackof context in a recording (his budget priced videos might be a betterstarting point for the curious newcomer to America's Greatest LivingNoise Artist) and I've found that this is true to an extent also of theDue Process recordings. So it is important that Combines XIX XXgoes under the moniker 'Jason Lescalleet's Due Process' and that thisrefers -not- to the senior member of the team (Due Process has been thename of not Jason's, but Ron's various collaborations) but to Jason'sheavy hand in production; going way beyond mere editing and mastering.He has coaxed what I assume to have been live Due Process material intoa mutation, the clones of which are now available in LP format. It isby far the most accessible of this duo's releases. The music rangesfrom clearly identifiable Beaulieau antics polished up in theGlistening Labs to material that is essentially new Lescalleet musicbased off the recordings. Given that Ron has taken to using Jason'ssolo releases as source material in his own performance, and I thinkthere are examples of that here, the genealogy of Combines XIX XX is elegantly circular; rather like the shape of the LP itself and having much the same diameter.
There's something slightly unlikely about the popular Due Processhybrid. The defiantly low-brow stance of the species 'ME Beauliea' withits comedic theatricals and jubilant confrontation contrasts markedlywith the seriousness, finesse, fastidious methods and criticalself-appraisal of the 'ME Lescalitus'. That this thought only occurredto me recently while watching Jason performing with Thomas Ankersmith,a musician perhaps even more intensely serious than Jason, clearlyhints at the success of the hybrid and reminds us that in breeding, asin marriage, comlimentarity can be as important as commonality. RonLessard's solo performance as Emil Beaulieau looses much from the lackof context in a recording (his budget priced videos might be a betterstarting point for the curious newcomer to America's Greatest LivingNoise Artist) and I've found that this is true to an extent also of theDue Process recordings. So it is important that Combines XIX XXgoes under the moniker 'Jason Lescalleet's Due Process' and that thisrefers -not- to the senior member of the team (Due Process has been thename of not Jason's, but Ron's various collaborations) but to Jason'sheavy hand in production; going way beyond mere editing and mastering.He has coaxed what I assume to have been live Due Process material intoa mutation, the clones of which are now available in LP format. It isby far the most accessible of this duo's releases. The music rangesfrom clearly identifiable Beaulieau antics polished up in theGlistening Labs to material that is essentially new Lescalleet musicbased off the recordings. Given that Ron has taken to using Jason'ssolo releases as source material in his own performance, and I thinkthere are examples of that here, the genealogy of Combines XIX XX is elegantly circular; rather like the shape of the LP itself and having much the same diameter.
