THE END IS HERE!
And it has nothing to do with Covid-19, chemtrails and Bill Gates' colossal motherchipping mother of all conspiracies.
It's still very much worth mentioning though. The Swedish avantgarde jazz quintet The End featuring relentless sax work animal Mats Gustafsson has released a neat little ten inch EP.
THE END - Nedresa (blue vinyl 10") (2020)
"Nedresa" consists of two songs, both written by baritone guitarist Anders Hana and are pretty straightforward and accessible - in comparison to their debut "Svärmod Och Vemod Är Värdesinnen" that is. Which will probably mean exactly nothing for the regular uninitiated listener of "normal music", who misses a socialisation in the arts of advanced twisted jazz and noisy shenanigans.
Even though in comparison to most material of said album the almost nine minutes long A-side "The Prayer, The Prey" has a pretty understandable structure with a slow and steady increase, a repeated change of verses and sax solos and a rewarding final climax - all presented in a gripping groove -, there are of course still elements which will never in this world and lifetime be everyone's cup of tea.
First and foremost there's of course Sofia Jernberg, whose part in this already extremely adventurous two-saxophones+guitar+drums band is the most blatantly daring.
Take Mike Patton's cultivated insanity, the shrillest shrieks of Kristeen Young, the most experimental flute-like Björk whispers, the energetic confidence of Janelle Monáe and the precise jazz vocal techniques of Youn Sun Nah - then you'll find yourself in the place where this astonishing singer's voice operates. So out there and just so crazy good.
On side B (being the six-minutes track "With A Gesture, Will You Hurt Me?") the instrumental section then catches up with the lunacy big time and everything spirals into a hard-hitting, weird wild ride, a desperately excessive, exhausting hard rock math jazz hybrid.
So, what's not to love?
This band still amazes the fuck out of me.
The icing on the cake is that "Nedresa" is again graced by a beautifully disturbing Edward Jarvis painting. The strong blue vinyl colour also looks good - even though my personal copy has been visibly warped in transport. But it's within my tolerance range, so everything's fine.
If this is a representative preview of the forthcoming next full length album, I am definitely curious and my body is ready.
Even though in comparison to most material of said album the almost nine minutes long A-side "The Prayer, The Prey" has a pretty understandable structure with a slow and steady increase, a repeated change of verses and sax solos and a rewarding final climax - all presented in a gripping groove -, there are of course still elements which will never in this world and lifetime be everyone's cup of tea.
First and foremost there's of course Sofia Jernberg, whose part in this already extremely adventurous two-saxophones+guitar+drums band is the most blatantly daring.
Take Mike Patton's cultivated insanity, the shrillest shrieks of Kristeen Young, the most experimental flute-like Björk whispers, the energetic confidence of Janelle Monáe and the precise jazz vocal techniques of Youn Sun Nah - then you'll find yourself in the place where this astonishing singer's voice operates. So out there and just so crazy good.
On side B (being the six-minutes track "With A Gesture, Will You Hurt Me?") the instrumental section then catches up with the lunacy big time and everything spirals into a hard-hitting, weird wild ride, a desperately excessive, exhausting hard rock math jazz hybrid.
So, what's not to love?
This band still amazes the fuck out of me.
The icing on the cake is that "Nedresa" is again graced by a beautifully disturbing Edward Jarvis painting. The strong blue vinyl colour also looks good - even though my personal copy has been visibly warped in transport. But it's within my tolerance range, so everything's fine.
If this is a representative preview of the forthcoming next full length album, I am definitely curious and my body is ready.
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