TERMINAL 4
SELF TITLED

Recorded at Uber Studio
Tracked by Brendan Burke
Edited, Mixed and pre-mastered by Lou Malozzi at ESS
mastered by Mike Hagler at Kingsize Sound Labs

PERSONNEL
Fred Lonberg-Holm: cello
Josh Abrams: bass
Ben Vida: guitar
Jeb Bishop: trombone and guitar
Terria Gartelos: vocals

SONGS
1. Oil Pack
2. N. Heptane
3. She Caught Herself
4. Slinky (mp3)
5. This Was The Frippe Time
6. Pending Solitude
7. A.D.
8. Eat Some More

REVIEWS
Every time I put this on, I end up smacking my forehead and exclaiming, "Oh yeah! So that's what been bouncing around in my head all week!" This album is full of wonderful, hummable cello-bass-guitar-trombone instrumentals that range from near-waltz-sounding pieces to stuff directly inspired by smoky jazz clubs. These pieces are incredibly vital and energy-charged, with roaring trombone solos, strange, Tarzan-movie reminiscent percussion choices, and scratchy-to-plunky-to-classical cello interludes. I loathe to even stick this in the free-jazz category, just because each piece flows like an actual song, but it's far, far from the stale and structured jazz recordings I grew up hearing pour out of my dad's office at night. -Cosmik Debris

After so many years spent sprucing up efforts by the cognoscenti of Chitown post-rockers and jazz musicians, Lonberg-Holm hasn't given himself over to the sideman role for life; as Terminal 4 indicates, he's finally ready for his time inthe limelight.

If only for lack of competition, Lonberg-Holm has long distinguished himself as the avant-rock scene's finest cellist. Having graced almost everything with the Truckstop imprint - along with some great improv collaborations - his smooth, soft playing is a key part of the contemporary post-rock sound. All composure and restraint, the man's sound has added texture, discipline, and meat to the future sound spewing from the Windy City scene.

Having finally assembled a band of kindred spirits, Lonberg-Holm sketched out a bunch of tunes and put then to tape. Considering his past outings' tendencies toward noisier dynamics, Terminal 4's vaguely traditional leanings come as a surprise. Jeb Bishop's trombone lines don't sound too far out of step with early-period Miles Davis, accentuating subtle, melodic transformation throughout a given song, and the arrangements allow plenty of room for spacious, melodic playing. Even "She Caught Herself," the record's sole vocal number, sounds like a crooked torch song spiked with hidden Marxist sentiments. Singer Terria Gartelos vamps it up just enough to keep it from sounding academic, and her scatting with the band evokes Etta James a hell of a lot more than Ornette Coleman.

But this isn't Freddie Lonberg and his Cocktail All-Stars, either. The rigor and intensity of his playing sometimes evokes the brainy quality of his best collaborations, and Bishop's double duty on the guitar provides a great source of gritty tension. Clearly Lonberg-Holm's paid attention throughout his time as a hired hand. Here, given the chance to put his own spin on things, he's been pulled into the big leagues and, even under the hot lights and thousands of stares, looks like he's ready to pitch a killer game. -Pitchforkmedia.com

Copyright 2002 Truckstop Records.