Explaining the merits of various free improve groups results in some flowery and mercurial language that doesn’t amount to all that much. Describing the manipulations any given instrument undergo in a process that has no boundaries, only a stated goal of getting the ju-ju out is almost a fruitless endeavor at its start. Surely, some adjectives will be meaningful for some folks and not for others.

Whatever the case is with critiquing difficult musics of this nature, Borbetomagus, an upstate New York trio consisting of two saxophones and a guitar, has been checked as the impetus for a great deal of the now current aggressive noise scene. Of course, there are players within that scene only making use of electronic equipment in order to arrive at some conflagration of art and sound. But with acts like Zs, that this guy believes is the logical out-growth of Borbetomagus, there’s a composerly conception of music detached from the earlier group.

Beginning in the late seventies, Borbetomagus had a rough go of performing in live situations. Funded through various grants and misguided jazz and classical organizations, the group would show up to most performances, play for a bit, stun its audience, have a discussion with whoever booked the trio and be chastised for performing in such a noisome manner.

With the burgeoning noise cum rock thing in New Yawk City, though, Borbetomagus eventually had some semblance of sonic brethren, while still choosing to avoid city dwelling.

Developing its sound over time in its self imposed isolation from the loft scene and whatever else was going on in New York during the late seventies and early eighties created an insular vernacular and ability of the trio to understand where each player was going and to follow, adjust or play off whatever current line was being blown or skronked.

Due to the difficult music Borbetomagus was working with its discography is a bit jumbled. Some works were recorded relatively early in its career, but not issued until latter. Barbed Wire Maggots, a live performance finding the group working out two side length improvisations sports a cover that should summon images of the end of the world. Folks might figure the music does the same thing. Whatever the case, though, the trio’s ability to perform with such tenacity over forty some odd minutes without too much concern for structure is an astounding feet. It’ll be a difficult listen for some, but rewarding conceptually either way.