Rating: 7/10, Source: Aversionline
This limited edition CD-R consists of a 35-minute live collaboration featuring Kenneth Yates from Harm Stryker (electronics and processed saxophone), Birds in the Meadow (Marty McCavitt – laptop and processed percussion, Darius Jones – alto saxophone), and Brian Jones (percussion), recorded live on October 24, 2004 at Artworks in Richmond, VA using two minidisc recorders. Things start off with sparse saxophone notes being chewed up by watery electronic effects, but things don't really start to pick up until a few minutes in as the manipulations start to feel thicker and more substantial. Shortly thereafter it's rounded out by similar treatments given to shuffling percussion (lots of which is focal snare and cymbal work – prominent, but far from overpowering, thankfully). There are lots of glitchy, swirling electronics, a good deal of stereo panning, some cutup styled spurts of sound that break in and out and swirl around, etc. The second passage of the set is a little quieter, with saxophone resting farther in the background behind relatively sparse percussion treatments and similarly structured fidgeting electronic outbursts. I personally am not really into saxophone (as an instrument, period, not specifically the way it's used here), but it does work a little better in this second wave where it becomes both more melodic and more abstract at times. This kind of approach continues for the next five to 10 minutes but does shift and change its delivery, so the overall tone is consistent but the actual sounds differ quite a bit, as electronics gradually shift back and the percussion becomes more of a full drum set beat that's almost rather concrete. It's actually my favorite section of the entire event where the drums and sax both lock in for brief hints at a more musical tangent that's backed very nicely by strangely rumbling/swirling electronic noise. I'm not sure why the tracks are broken up the way they are, as the first area that truly feels like a break comes between the third and fourth tracks, so the first three track divisions really play out more like one complete 14-minute segment, etc. It's no big deal, it just seems a little strange at that first chunk. The last few tracks are a little noisier and get kind of harsh at times, but it's still spaced out and broken up in a manner that makes it very bearable, so it's not something that's trying to peel your face off or anything like that at all. The CD-R comes in a screenprinted sleeve (a few in blue ink on black paper, most in yellow ink on black paper) with minimal artwork and rough text that makes a nice little presentation for a D.I.Y. affair. Not bad. Some moments are better than others of course, but overall it's an interesting and rather unique little piece, and it's been documented well both with a simple yet effective presentation and a surprisingly nice recording. It's definitely got the thick warmth that you'd expect from a live performance, but it's not muddy at all, and actually sounds pretty impressive considering. It's limited to 50 copies at $5 a pop, so… check it out.
Running time - 35:14, Tracks: 9
[Notable tracks: they're all untitled]

Source: Industrial.org
If someone asked where jazz ends and noise begins I would be hard pressed to keep the definition from sliding between my fingers. A lot of jazz is pretty noisy and there's a certain point where disjointed atonality ceases to have any connection to melody or traditional structure. . .thus becomes noise. Then we have the whole confusion of sampling where non-noise music is crammed into the waiting with pleasure socket of a stompbox or rudely wiped over the surface of a beat up tape mechanism. On this collaborative release between Harm Stryker and Birds in the Meadow (featuring Brian Jones just to make it even more difficult to file under anything in particular) you have members of both camps trying to play nice. Is this a jazzy noise improv? A noisy jazz improv recording? I'd side more with the latter but there is plenty here for you regardless of whether you are fonder of goatees and espresso or dirty sweat pants and cheap vodka.

This live recording sports 9 track clocking in at a tad over 35 minutes. The sound quality is surprisingly decent and manages to sound "live" without seeming like there is a run amok vacuum cleaner loose in the background. According to the label the layout was drums and horns processed by the remaining participants. There is plenty of re-rendering in play but this is primarily an acoustic event with the electronics external clothing around a hot free jazz body.

"Processing Quartet" has a lot of melodic content though done in saxophone scales off into walrus honk John Zorn style (not totally fair to make that comparison since it is the very nature of the instrument but that's the most obvious example I could think of). You will hear plenty of up and down runs into skronk deadfall with falling down the stairs percussion trapsing along after it. The mix never goes as far as to emulate Borbetomagus but does get sparse and weird enough to sound like something that Eric from Hermit might be involved with.

The electronics as noted are mostly surface - bit reduction or FM effects making the saxophone sound like it's playing with a Sega Genesis or causing the drums to sound like they are below you in the basement. You do get some needle nosed feedback here and there as well as a lot of squiggle and squirm darting around in between recognizable bits of instrumentation. If you threw all of your wooden kitchen utensils and squeaky toys into a big carboard box and shook the hell out of it, the background here is what you could expect to find when you opened it back up.

My main issue with free jazz that I have come across is that it just ain't weird enough, lacks hypnotism to its movements or simply is too timid and so ends up sounding like bad TV from the 70s. "Processing Quartet" is a welcome surprise then with how it manages to lead the initially straight up sax noodling off into a spittle flecked episode of weirdos on parade that coaxes the ear much like a fleshy jiggle does the eyes. There is just enough caustic edge to make you feel like you have worked for your weekend and if you have haven't tasted a jazzy flavour in while this is an especially tasty treat. Unexpected, recommended. - Moron

Source: Vital Weekly
PROCESSING QUARTET - S/T (CDR by 804noise) 804noise is collective of artists and enthusiast from Richmond area dedicated to noise, experimental avant-garde scene. They are networking with other experimental artists to make Richmond community more receptive to experimental events. Under this name they have already started a label and have couple very interesting releases signed by 804 artists. With this release, under label 804noise they are starting new series of limited edition releases. First release in the 804noise limited series is live performance of project Processing Quartet, recorded on their live act in Richmond. For this occasion, noted names of experimental/improv scene in Richmond, members of 804noise, joined their forces on the stage to intersect their work together and record this performance on two minidisks. Improvisers Marty McCavitt (laptop) and Darius Jones (alto sax), who record and perform together as Birds in meadow, were joined by Brian Jones on percussion, together with Kenneth Yates of Harm St ryker one of most outstanding member of 804 community. Here they are improvising elements of free jazz, improve, noise/experimental, making detailed and shifting tapestry of sound. First part of the release is more into jazz improvisation sound and than it is getting louder and louder taking noisy dimensions, but without exceeding limits of audibility. Minimalistic and glitchy moments are also appearing later, incorporating into noisy electronic background. At this point electronic improvisation dominates over jazz improvisation, but at the end jazz moments are coming back again. So here we have another interesting release from 804 community worth for our attention. (Toni Dimitrov)