Blood is a pretty heavy signifier, announcing terrors and vengeance, but also vitality, redemption. Georgia strings improviser/composer Killick understands this, both viscerally and conceptually. Exsanguinette represents his rethinking and rededication to music that's beyond category. Given Killick's own wide-ranging stylistic interests, it's no huge surprise to see him with such seemingly disparate partners: ROVA sax legend Larry Ochs, trumpeter Liz Allbee, and Mastodon's drummer, Brann Dailor. Building on everything he's done to this point, the music here is non-linear, making use of conduction and some basic compositional parameters to create structures allowing the players to be themselves through the lens of his experience and storytelling. There's tremendous cohesion in the performance, even though it works through a vast amount of ideas, from the love cry of the opening, the wired Luttenbachers sound of "Bloodletting," the insectoid "Esteempunk," or the electroacoustic frisson on "Hosannas." Killick's never been too hung up on genre, and it's great to hear him with such sympathetic, imaginative, and intense players here. The ace in the hole on this structured improv is the electronics that Allbee and Killick bring, serving as a kind of glue between guitar skronk, horn howl, and percussive barrage. Things line up and synchronize not through charts or solos but through dynamic shifts, entrances and exits, pauses or explosions. The players are wholly themselves even as they play without ego or pushiness, each one getting into the cracks of the sound and the ideas, crisply realizing everything from cosmic noise to post-Ayler freakery. The sensibilities match up splendidly, yielding a sound that's bigger than the sum of it's parts. It's a bloody record, in every sense: purging, cleansing, renewing, with just the right dash of gore. -Jason Bivins Exsanguinette consists of 7 tunes, plus a remix of each: the brainwave trippery of Jeff McLeod (UNINHIB?); the frostbitten fuzz of Killick (Owyllf end Rayvnnf Thay Ore Plvckyng Thee Yce Off Eterynytee); high lonesome loopjams by 247 (Waiting Theme, Hard Being Lazy, Which Way Is Here); free association geometries by Kyle Dawkins (Form Constant); and the dreamy-chaotic-something-or-other of I'd M Theft Able (Grasshopper Reassembly and Scatter). The packaging includes cover artwork by Watson Atkinson with photos of the recording session by Rinne Allen. Exsanguinette is brought to you by Solponticello Records.