Blood on the Leaf

  • Blood on the Leaf
  • 2000 : truGROID

This is the beginning.Back in the summer of 1999 Greg Tate gathered a crew of eight musicians to flesh out an idea he had for a new type of band, to perform a new type of music. Those sessions and the following jams at Shariff Simmon's throwdowns in the basement of CBGBs led to this recording.Of the 12 musicians (not including tracks 1 & 6 by Moomtez, a previous Tate inception) on this recording, many are still up in the sugar of the Arkestra Chamber today.

  1. Steals a Kiss from the Merman
  2. Harpoon (Bris)
  3. Sirens of Triton
  4. Gnawalickenlalibella
  5. 04.29.92 Justice on the Flex
  6. A Blood Sample from Errol Garner
  7. Blood on the Leaf
  8. Beloved
  9. The Third Bleed
  10. Sparticus Free the Slaves! (featuring Kirk Douglas)
Making Love to the Dark Ages

Making Love to the Dark Ages

Chopped and Screwed Volume 2

Chopped and Screwed Volume 2

More Than Posthuman - Rise of the Mojosexual Cotillion

More Than Posthuman - Rise of the Mojosexual Cotillion

If You Can't Dazzle Them With Your Brilliance, Then Baffle Them With Your Blisluth

If You Can't Dazzle Them With Your Brilliance, Then Baffle Them With Your Blisluth

Not April in Paris; Live from Banlieus Bleues

Not April in Paris; Live from Banlieus Bleues

The Rites: Conductions Inspired By Stravinsky's Le Sacre Du Printemps

The Rites: Conductions Inspired By Stravinsky's Le Sacre Du Printemps

Black Sex Yall: Liberation & Bloody Random Violets

Black Sex Yall: Liberation & Bloody Random Violets

That Depends on What You Know: 1:3 The Sirens Return / Keep It Real 'Til It Flatlines

That Depends on What You Know: 1:3 The Sirens Return

That Depends on What You Know: 2:3 The Crepescularuim

That Depends on What You Know: 2:3 The Crepescularuim

That Depends on What You Know: 3:3 Fubractive Since Antiquity Suite

That Depends on What You Know: 3:3 Fubractive Since Antiquity Suite

Blood on the Leaf

Blood On the Leaf

“on "Sirens of Triton" ... After calling for Vijay Iyer's spare, funky acoustic piano solo, Tate gradually surrounds him with rich, thick textures from electric guitars, synthesizer, and electronic and acoustic percussion. "Gnawalickenlallibella" opens in 6/4 time with Iyer's steady arppegios overlaid with "choked" staccato lines from electric guitar and synthesizer, giving the song the feel of needle on vinyl. Three minutes later here comes Swiss Chris banging out drum n' bass beats, until Tate moves the band into another mode where the guitars sound like sitars playing scales reminiscent of an Indian raga. The amazing thing about Tate's concept is the way it draws on aesthetics of sampling and yet it is completely improvised instrumental music.”
by  Robin D.G Kelley
Seeing Black.com
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“Spar­ta­cus Free the Slaves!” featuring Kirk Douglas

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“Blood on The Leaf“

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