Up top in the notes that accompany the glorious debut by Chicago duo Potliquor is a reference to Hakim Bey’s temporary autonomous zone concept. Bey — born Peter Lamborn Wilson — defined it as a space in which formal control structures are prevented. Bey, who passed in 2022, was a U.S. anarchist author, philosopher and poet.
“[N]ot all existing autonomous zones are ‘temporary,’” he later wrote. “Some are more-or-less ‘permanent.’”
It’s a heavy name drop for a debut album. Had Potliquor failed to back it up with a properly disruptive recording, turntablist Allen Moore and pianist Sharon Udoh might have been in the market for a new line of work.
No need. The Bey shout-out is more than a bit of literary flourish. Much of what makes this album so fascinating is the autonomous nature of their contributions. Udoh’s is effectively a minimalist, contemporary solo performance. It is the stuff of concert halls, occupying that wonderful space between jazz and new classical music.
Moore’s turntable and electronics run roughshod over each of the album’s five live recordings — virtually ignoring Udoh’s piano.
Put more simply, there’s a lot to love about both the concept and execution of All I Know In the City. Here’s the thing though — the album is a remarkably easy listen (provided you’re cool with turntablism, of course). The vibe is gently reflective, even as it presents us with one surprise after another.
One of this year’s best so far.
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