Roger Kleier The Night Has Many Hours Experimental,    Innova 685    CD   15
	Ambient Noir See One Sheet
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Title	Composer(s)	Performer(s)	Length
The Night Has Many Hours	Roger Kleier	Roger Kleier	4:22
What is the Price of Iron?	Roger Kleier	Joan Jeanrenaud Roger Kleier	12:22
Knuckleduster	Roger Kleier	Annie Gosfield Joan Jeanrenaud Roger Kleier	3:20
Deluge: Devil Take the Most	Roger Kleier	Roger Kleier	5:17
Interlude (So Long Shea)	Roger Kleier	Roger Kleier	0:57
Generator	Roger Kleier	Roger Kleier	2:12
Anyway...	Roger Kleier	Roger Kleier	4:40
Dark Matter	Roger Kleier	Roger Kleier	5:28
Hyperplane	Roger Kleier	Roger Kleier	6:30
“The Night Has Many Hours” completes the trilogy New York-based guitar-wizard/composer Kleier began with "KlangenBang" and "Deep Night, Deep Autumn". For this episode he is joined by Annie Gosfield and Joan Jeanrenaud. He writes: “I have always enjoyed the works of fiction writers who have main characters that reappear in sequential novels, especially noir masters like Raymond Chandler, Walter Moseley, and William Gibson. For these three CDs, I have thought of my own guitar playing and the sound world it occupies as a "character" who shows up repeatedly in a myriad of musical situations, with each variation somehow related to the last one.” “For the first part of the trilogy, "KlangenBang", my musical character dealt with concert performance, improvisation, and song form. In "Deep Night..." this character explored a dark world of electronic manipulations and sinister development. For this final episode, the guitar player character investigates the concept of variations in ambience. These ambiences might include those found in urban chaos, cold and icy winters, deserted alleyways, dark subway tunnels, rolling California hillsides, or even an occasional quiet pool of beauty...” Roger Kleier is a composer, guitarist, and improviser who began playing electric guitar at age thirteen after discovering Captain Beefheart and Jimi Hendrix on the radio airwaves of Los Angeles. He studied composition at North Texas State University and the University of Southern California, and has developed a unique style that draws equally from improvisation, contemporary classical music, and the American guitar traditions of blues, jazz, and rock. Much of his compositional work involves the development of a broader vocabulary for the electric guitar through the use of extended techniques and digital sound manipulation. Roger has collaborated with Annie Gosfield, Carl Stone, Marc Ribot, Elliott Sharp, Fred Frith, Chris Cutler, Joan Jeanrenaud, David Moss, Davey Williams, Phill Niblock, John Zorn, Ikue Mori, David Krakauer, Stan Ridgway, and many others. He has recently formed a quartet called “El Pocho Loco”, which is dedicated to guitar instrumentals that features keyboardist Annie Gosfield, bassist Trevor Dunn, and drummer Ches Smith.
Audiophile Audition Continuing the path-breaking innovations of Jimi Hendrix' intense timbres and wall of guitar blocks of sound, with muted colors and reflective moods... by
American Record Guide He has a knack for creating rich, beautiful textures, which really shine because of the expert production. by
Elliott Sharp Roger Kleier's guitars burn up a huge vocabulary of pungent timbres and compositional attacks...It's all there: from Beefheartian slide and fuzzed psychedelic leads to percussive soundspaces and orchestral feedback. by
The Wire Impressive stuff! by
American Record Guide Roger Kleier’s program is heavily electronic, using cello, guitar, affected beats, and synthesizer to create his melodies. Some of the album – Hyperplane, The Night Has Many Hours, and Anyway…- is shifting walls slowly adding instruments and sounds. Highly rhythmic loops create forward motion, though Deluge: Devil Take The Most is not that catchy before it turns into an electro-dance beat for a minute. What Is The Price of Iron is the best piece on the program. The first movement has the cello twitching and groaning to create its background before playing beautiful, pensive melodies. II begins with affected percussion over witch the cello carves out low lines below high static. The third, final movement allows the cello to shine, forgoing many of the electronics heard in the previous movements. The tremolos and ethereal, moving phrases return before everything fades into an electric hiss. by Lamper
Signal to Noise ..."Knuckleduster" is downright funky, recalling Bitches Brew of Agharta, and it features a ripping organ solo by Gosfield, as well as Kleier shredding it like John McLaughlin. Other tracks feature abstract electronic tampering, like the broken disco beats on "Deluge" or the circular patterns of "Anyway." The concluding "Hyperplane" condenses all of these disparate soundworlds into one final blastoff, in which oscillating drones accrete then eventually fade out into a simple guitar wash. by Seth Watter