Features primarily trumpet, electronics, and voice (with organ, drums, conch, handclaps, half-tuned guzheng, fading radio, and other mystery meat).

Recorded by Allbee/Alibi between 2006-09, released 2010.

12 tracks. TRT 35 minutes.

Contact: info@resipiscent.com and liz_abet@yahoo.com

Thanks for listening.

SOUND PROJECTOR APRIL 2010 LONDON UK http://www.thesoundprojector.com/2010/04/18/intangibles/

As a women is Liz Allbee, who lives in Berlin and her instruments are trumpet, electronics and voice. You might perhaps jump to the conclusion that Allbee comes from the world of improvisation and that's where she operates. That is only partially true. There is a lot happening on this CD: perhaps somehow, somewhat based in improvisation, but there is so much more, above all: its musical. Sometimes one gets the impression that Allbee wants to play a poptune. I have no idea what her electronics are about but no doubt some form of loopdevice to create rhythms. Perhaps using her voice, perhaps her trumpet, or perhaps there is some rudimentary form of a drum computer. But I think she loops more than just that: also her voice, also her trumpet and thus forms little melodies around she improvises her work. Maybe that seems an odd combination but its one that works surprisingly well. At times a bit noisy, at other times more like serious avant-garde, but always keen to add that (small) pop angle. The tracks are short and to the point. A bit sketch-like perhaps, but due to the variety of approach this is a highly enjoyable and well succeeded hybrid of styles, with Allbee doing something that is surely her own.

VITAL WEEKLY #726 APRIL 2010 NETHERLANDS

LIZ ALLBEE Theseus vs (Resipiscent Records, RSPT035 in hand-silkscreened box): Liz, die allgegenwärtige Biene. Während ich noch über dem Gastspiel der Kalifornierin bei Kihnoua lausche, erreicht mich aus Berlin ein kleiner Karton, bedruckt mit einem Zicklein mit zwei Köpfen. Bizarr wie Ziegenhonig! Was Liz Allbee mit ihrem Solodebut liefert, ist jedenfalls zugleich monströs und rührend, zugleich irritierend und faszinierend. Verschärft dadurch, dass man einer hübschen Blonden solchen Sinn fürs Abgedrehte und Groteske nicht zutraut? Freilich, wer sich zugleich für Dog-Faced Hermans und Leo Wadada Smith begeistern kann, wer mit Neung Phak und Hans Grusel spielt, arrrgl. Mit trumpet, electronics, and voice (with organ, drums, conch, handclaps, half-tuned guzheng, fading radio, and other mystery meat) inszeniert sie eine kleine Freakshow aus Art Brut mit looney-launig verzerrtem Gebläse und Singsang, gluckerndem Elektrogefurzel und V-Effekten wie &Mac226;One Short Grunt' und &Mac226;Lewd Intermission'. Aber darin versteckt sind Preziosen, feinster Ziegenfrischkäse in Rosenpulver. Schon &Mac226;Leisure Sport Overlords' lässt nach einem Hochgeschwindigkeitsintro aufhorchen mit einer Horrorfilmidylle aus schattiger Trompete, Glockenspiel und Morricone-Pfeifen zu monotonem Gamelan. Dem folgt mit &Mac226;The Undersides' der erste Höhepunkt, ein träumerisches Lullaby auf knurrigem Fond (oder schnurrt da der Geist von Allbees Kater Kasper Mauser?), mit Glöckchen und hintergründigen Trompeten. &Mac226;Your Medicine' ist der zweite, ein Chor von Trompeten, wieder Glöckchenklingklang, und dazu der triste Trost, dass das, was einen nicht umbringt, stärker macht. Bittere Medizin. Danach &Mac226;History Of The Automotive', erst eine teuflisch gurgelnde Stimme, dann Charming-Hostes-Gesang. Dann aber &Mac226;A Charmed Life', der Herzausreißer, Hymne, Litanei, dunkles Tamtam mit multiplen Trompeten und dazu eine Stimme, intensiv wie Carla Kihlstedt, aber höher und eindringlich wie eine Schädelöffnung. Schaurig schön. Liz Allbee, merkt euch den Namen.

BAD ALCHEMY #66 SPRING 2010 GERMANY

ENGLISH: LIZ ALLBEE vs Theseus (Resipiscent Records, RSPT035 in hand-silkscreened box): Liz, the ubiquitous bee. As I listen still above the guest appearance of the Californian at Kihnoua, reached me from Berlin, a small box, printed with a kid with two heads. Bizarre as goats honey! What gives Liz Allbee with her solo debut, is certainly both monstrous and pathetic, at once fascinating and disconcerting. Exacerbated by a pretty blond is not such a wacky sense of grotesque and trusts? Of course, anyone who can inspire both for Dog-Faced Hermans and Wadada Leo Smith, who plays with Neung Phak and Hans scary, arrrgl. With trumpet, electronics, and voice (with organ, drums, conch, handclaps, half-tuned guzheng, fading radio, and other mystery meat), they staged a small freak show from Art Brut with looney-whimsically twisted fan and chanting, gurgling Elektrogefurzel and V-effects such as, One Short Grunt "and" Lewd Intermission '. But are hidden jewels in it, fine goat cheese in rose powder. Already, Leisure Sports Overlords' can be a high-speed Intro sit up with a horror film from idyllic shady trumpet, glockenspiel and whistling to Morricone-monotone gamelan. With the following, the underside 'of the first peak, a dreamy Lullaby on grumpy fund (or, as the spirit of Allbees purring cat Kasper Mauser?), With bells and trumpets enigmatic. , Your Medicine 'is the second, a chorus of trumpets, bells again Kling Klang, added to the sad consolation that what does not kill, makes stronger. Bitter medicine. Thereafter, History Of The Automotive ', only a devilish gurgling voice, Charming-mailhost-singing. But then, A Charmed Life ', the heart outliers, anthem, litany, with multiple dark fanfare trumpets and with it a voice, intense as Carla Kihlstedt, but higher and invigorating as a skull opening. Eerily beautiful. Liz Allbee notices you the name. BAD ALCHEMY #66 SPRING 2010 GERMANY

23 Haight St. #5, San Francisco, Ca. 94117

www.resipiscent.com