AUM Fidelity


..Throat ..AAUM061

CD $13

AUM-direct special combo offer:
Throat + Lung
2 CDs $20

Throat I .4.49 (MP3 Excerpt)
Throat II .5.03 (MP3 Excerpt)
Throat III .7.18 (MP3 Excerpt)
Throat IV .11.37 (MP3 Excerpt)
Throat V .5.57 (MP3 Excerpt)
Throat VI .4.21
Throat VII .2.10

All compositions/suite by LITTLE WOMEN
P+C 2010 AUM Fidellity










LITTLE WOMEN (the four chambers):
Travis Laplante
tenor sax
Darius Jones alto sax
Andrew Smiley guitar
Jason Nazary drums


Recorded & Mixed by Andy Taub at Brooklyn Recording
Mastered by Michael Marciano at Systems Two
LP lacquers cut by Scott Hull at Masterdisk
Produced by Little Women & Steven Joerg

Cover Artwork by Mick Barr

–Elliott Sharp ....rating: “4 1/2 DOTS"

CHICAGO TRIBUNE Feature Little Women might change your life, indefinably
“Staggering. There are those times when you hear a band and think, "Everyone has to hear this." .. First you react to the emotion that is so raw, so audible. These guys are ripping their guts out, you think. And so they are. .. It has structure and elegance in a tornado of noise, and beauty that cuts through the maelstrom like a ray of light.” –Kevin Williams

THE NEEDLE DROP video blog Review
"Let me start by saying this album is awesome; however, I understand the noisy, disturbing, abusive sounds this Brooklyn quartet makes are not for everyone--not even a little bit. If disorienting musical aggression isn't your thing, I understand. But if it is, then your ears need to be on this band's debut full-length. This group features elements of math rock, free jazz, metal, and punk sped up until they've disintegrated into a fine powder that gets you pretty messed up when snorted. Lots of replay power, great sounds, and raw musicianship. How are we gonna know what's pretty if we don't hear the ugly? This rules."....rating: "9/10"

CHICAGO READER - Critic's Choice Recommended - The List
“..there's a constant push-pull between rigidly metered pummeling and unhinged violence. Over the high-speed, almost martial rhythms of drummer Jason Nazary and guitarist Andrew Smiley, Jones and fellow reedist Travis Laplante blow terse lockstep riffs that frequently explode into tangled strands of overblown overtones. But Throat isn't always assaultive: sometimes the two reedists uncork eerie unaccompanied long tones, or the band reshapes a melody that sounds like an old spiritual into a beautiful meditation that wouldn't feel out of place in a Radiohead song. Little Women toggle between extremes with impressive fluidity, and the transitions consistently make sense.” –Peter Margasak

DESTINATION: OUT Post + Text from Little Women
"This disc grabbed us immediately by the neck and has yet to let go. You need this kind of beauty and brawn in your life."

IMPOSE MAGAZINE Post + Playlist from Little Women
"Little Women make blistering horns vs. guitar music that blazes past the crossroads of jazz and rock to raise dust on the scenic routes of metal and noise."

"a tour de force of a composition, somewhere between Brötzmann, The Ex, and The Flying Luttenbachers. It rips, it’s mad, but what artistic vision, and what result! I think I’m in love!"
–François Couture, Monsieur Délire

EXCLAIM Featurette
Little Women don't play fusion; they make jazz and rock scream at each other. "We have a rock and jazz aesthetic," saxophonist Darius Jones says, "but it's not one or the other. We want to combine ideas and technique and use them in ways that aren't always comfortable for the listener." That's an understatement — the quartet's noise is all-consuming. Members are all highly trained in jazz, but this band subvert their collective education. On their debut [full-length] CD, Throat, two saxophones work in harsh unison and polyrhythm, creating split tones and guitar-like wails. They weave in and out of feverish guitar work and energetic but non-linear drums. The collision infects the wandering but communicative spirit of the best free jazz with metal's sonic range.

Hailing from Brooklyn, they've ended up playing with more noise bands than jazz festivals, where audiences can get a little skittish. "When we show up and do the show — I'm not going to lie — sometimes people get turned off because it's too aggressive," says Jones. "We do not filter, we don't pull back at all, like 'here's the jazz version of Little Women.' There is no jazz version. We don't do encores; we just go in and blast your brain out." Ultimately, Little Women aim beyond noise towards sonic catharsis on many levels. "We're not afraid to make the saxophones be ugly," says Jones, "but we're also not afraid to make it sweet, cause those two things go together. And we're not afraid to make people dance." –David Dacks
“Not for the faint-hearted, but not to be missed.”
–Bill Tilland

"Little Women can do whatever they want. They tell me to turn the volume up as loud as possible and I do it (their exact words: “Elevated volume on playback increases overtone quotient and rewards justly.”). They see genre boundaries and completely disregard them. They set out to collectively write a suite that’s at once as tight as great metal and as sonically adventurous as the mind can possibly comprehend. Not only do they do it, but they set the bar insanely high for anyone wishing to do the same. ... The four men are in touch with not only the extended techniques possible on their own instrument, but also how it can function within the group and along with the other instruments’ techniques. Fluidity and subtlety on their instruments, even in the rawest and most vicious of exchanges, is always there."
–Dean Christesen, RVA NEWS

"Little Women present a jaw-dropping dynamic of primal explosiveness in step with elegance and melody .. There is a fluidity from one end of the spectrum to the other that proves Little Women are beyond gifted in their ability to both hone in on the essence of their instruments, turning out a cordial listening experience, and likewise to allow their instruments to own them and burst forth in animal bits of terror. Because Throat is an animal. .. It’s a new breed with very few reference points. .. I’m having a difficult time dialing back my enthusiasm about this one actually, so just know that it was really hard for me not to preemptively anoint Little Women’s Throat as the best album of the decade and we’ll call it even."

Word/Sound/Vision : LITTLE WOMEN – (((unartig))) A/V FEATURE

Brooklyn quartet Little Women create music whose aim is transcendence, via brutally precise sonic assault and ascendant melodies, attacking written and improvised material with equal ferocity. The group’s sound distilled from a broad range of influences that stretch from free jazz through math metal, punk rock, pop music, and harsh noise. Saxophonists Travis Laplante and Darius Jones breathe together as one multi-tongued exquisite beast reveling in higher harmonics, splitting overtones to create ghost notes. Together with guitarist Andrew Smiley and drummer Jason Nazary, they create intricate yet whiplash-bestowing riffs which morph on a dime into ever-exploratory sub-groupings. There are also moments of quiet ringing-tone reflection on what has been wrought.

is a suite in seven sections fully designed to be taken in as a whole; it is their full-length debut following their 2008 EP, Teeth on the Sockets/Gilgongo labels. Throat was recorded and mixed by Andy Taub at Brooklyn Recording and features cover art by renowned underground guitar maestro Mick Barr (of Orthrelm & Ocrilim).

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