The darkjazz reissue series of Denovali continues, as does Jason Köhnen's steady replenishment with new projects and releases. So here in my latest batch of that stuff we have a good chronological sweeping blow with the self-titled debut album of The Kilimanjaro Darkjazz Ensemble, the second last release of their darker alter ego The Moint Fuji Doomjazz Corporation and the recent album from one of the Dutch doomaholic's active projects The Lovecraft Sextet.
THE KILIMANJARO DARKJAZZ ENSEMBLE - The Kilimanjaro Darkjazz Ensemble (CD) (2006/2022)
Yes, it's a CD. Even though I've bought all the other reissues on vinyl. Maybe I want to have something left to strive for? Or it's for cosmic balance, because I also have one Doomjazz Corporation album ("Roadburn") only as compact disc. Maybe I just got to save money from time to time. Does it diminish the music? No.
Similar to the EP "Mutations" this earlier debut album is already a perfectly executed, diverse presentation of almost all directions the group would continue to take later. The most noticable differences could be the still relatively small quartet line-up without lead vocals and that the whole doom aspect isn't as much at the forefront as on later works. It's hard to give overall descriptions which fit the whole album though. There's just always a track (of eleven in total), which sticks out in a different way. The main focus lies on a mixture of jazz and trip-hop with classical and ambient elements. Piano, cello, trombone, upright bass, clean electric guitar and electronic blips and beats are the sounds of "The Kilimanjaro Darkjazz Ensemble".
On "Guernican Perspectives" or the break-beat fest "Vegas" you almost expect Björk to show up and sing at any given moment. "Adaption of The Koto Song" is the clearest nod to traditional jazz, being an actual interpretation of a Dave Brubeck Quartet piece. The final trip hop trip "March Of The Swine" stands out with its over sixteen minutes long playing time alone.
All in all this album is without a doubt a game changer which rightfully steered the Ensemble towards a cult reputation.
Similar to the EP "Mutations" this earlier debut album is already a perfectly executed, diverse presentation of almost all directions the group would continue to take later. The most noticable differences could be the still relatively small quartet line-up without lead vocals and that the whole doom aspect isn't as much at the forefront as on later works. It's hard to give overall descriptions which fit the whole album though. There's just always a track (of eleven in total), which sticks out in a different way. The main focus lies on a mixture of jazz and trip-hop with classical and ambient elements. Piano, cello, trombone, upright bass, clean electric guitar and electronic blips and beats are the sounds of "The Kilimanjaro Darkjazz Ensemble".
On "Guernican Perspectives" or the break-beat fest "Vegas" you almost expect Björk to show up and sing at any given moment. "Adaption of The Koto Song" is the clearest nod to traditional jazz, being an actual interpretation of a Dave Brubeck Quartet piece. The final trip hop trip "March Of The Swine" stands out with its over sixteen minutes long playing time alone.
All in all this album is without a doubt a game changer which rightfully steered the Ensemble towards a cult reputation.
THE MOUNT FUJI DOOMJAZZ CORPORATION - Egor (turquoise vinyl 2LP) (2012/2022)
"Egor" consists of four live tracks between thirteen and twenty-two minutes length, recorded in Moscow in 2011. The line up beyond the core duo of Jason Köhnen (bass) and Gideon Kiers (electronics) was Charlotte Cegarra (vocals), Eelco Bosman (guitar), Ron Goris (drums), Sarah Anderson (violin) and Hilary Jeffery (trombone).
I've honestly given up trying to rank the Kilimanjaro / Mount Fuji discography. Especially the dense feel conjured be the dark live improvisations of the Doomjazz Corporation is an extraordinary experience on each and every recording. What I will say is that in particular the balance between textural ambience and drone and more structured slow motion jazz is just right on "Egor". Only towards the very end - after the applause! - you should prepare your heart for something really mean as the album concludes with a little accident. Unfortunately there's also a long scratch on the vinyl before that, which seems to be a pressing error, because I've already heard of other copies with the same problem. So I probably should have better bought this on CD, I guess. Still looks beautiful and isn't bad enough for me to return it though.
And even with that annoyance this double album still remains a doomjazz masterpiece, a transcendent lament of yearning winds, strings, synths and voices. If there has ever been a cinematic atmosphere through which you could easily cut with a knife, it is this.
I've honestly given up trying to rank the Kilimanjaro / Mount Fuji discography. Especially the dense feel conjured be the dark live improvisations of the Doomjazz Corporation is an extraordinary experience on each and every recording. What I will say is that in particular the balance between textural ambience and drone and more structured slow motion jazz is just right on "Egor". Only towards the very end - after the applause! - you should prepare your heart for something really mean as the album concludes with a little accident. Unfortunately there's also a long scratch on the vinyl before that, which seems to be a pressing error, because I've already heard of other copies with the same problem. So I probably should have better bought this on CD, I guess. Still looks beautiful and isn't bad enough for me to return it though.
And even with that annoyance this double album still remains a doomjazz masterpiece, a transcendent lament of yearning winds, strings, synths and voices. If there has ever been a cinematic atmosphere through which you could easily cut with a knife, it is this.
THE LOVECRAFT QUARTET - Nights Of Lust (magenta clear vinyl) (2022)
In the beginning "Nights Of Lust" sounds like a continuation of the Mount Fuji Doomjazz Corporation idea, but soon you realize that this is not only something different from that, but that it also isn't the same beast as the Lovecraft Sextet debut "In Memoriam". Köhnen has explained that the idea of this project is to fuse his darkjazz sound with different genres in each album. On this very synth-heavy album it is 1980's horror score music as well as balladic pop (those saxophones!) which receive the treatment.
Just like on the predecessor the music is Köhnen's closest approximation to Bohren & der Club of Gore, but this time with more hairspray, shoulder pads and chrome in it. The reverb is as big as the former industry hall, where the aerobics class is practising, while outside a serial killer sprung to life from a Carpenter Brut album is scouting for new victims.
Isn't there an Eighties revival out there? Again? Or still? Whatever, this is definitely one of its smoothest, pinkest and coolest faces.
Just like on the predecessor the music is Köhnen's closest approximation to Bohren & der Club of Gore, but this time with more hairspray, shoulder pads and chrome in it. The reverb is as big as the former industry hall, where the aerobics class is practising, while outside a serial killer sprung to life from a Carpenter Brut album is scouting for new victims.
Isn't there an Eighties revival out there? Again? Or still? Whatever, this is definitely one of its smoothest, pinkest and coolest faces.
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