Melvin-Soo-Remmel-Julm - Geografix

Brian Melvin, percussionist of American origin, has always been interested in combination of jazz with ethnic influences and anything else that is interesting. For the Geografix project he enlisted Mart Soo on guitar, Taavo Remmel on double bass and DJ P. Julm. Although the latter is known as a house music producer, here he is responsible for the more ambient electronic effects on one hand, and organic sounding samples on the other.

Geografix, however is a largely natural sounding modern ethno-jazz album wherein the sound effects and samples add color to the textures of acoustic instruments (including percussion). For proof of the possibilities of making interesting music with acoustic instruments, check out the drums and double bass interplay on "Gates to the Abstract". This easily outshines a lot of the more computer-based drum&bass productions.

In addition to his talented and multifaceted percussion skills, Brian Melvin is also a fine composer. His Indian-influenced compositions "Darsana" and "Elephant God" are the most memorable pieces here and they are potent enough to arouse interest in ethnic music from India itself. Occasionally the album reduces itself to background music. It's still the best kind of background music one could hope for. Recommended for traveling.

*This review was published in Estonian in a journal called Postimees. This is the English translation

Kumu ÖÖ (Kumu Night) @ Estonian Art Museum, 20th June 2008

This year's Kumu ÖÖ (Kumu Night) music festival showed improvement in terms of inviting excellent foreign performers to Estonia. Unfortunately it also pointed to a problem that is still a rule rather than exception in Estonian concert halls: bad acoustics.

Sound problems were already present at the outdoor stage where Estonian bands presented their recent records. Maikameikers presented, playing in their known goodness, material from their debut album "8Hz". Particularly outstanding was the extroverted frontman Alan Proosa. Unfortunately, the band suffered from thin bass sound. As if that weren't enough, soundmen approached the band shortly after their set falsely accusing the band of breaking equipment. Köök, whose vinyl single "Ereliukas" release was delayed to July, sounded ok, whereas Stella (presenting "Love You Boy" album) suffered from a muddy and unclear sound.

One of the most interesting foreign bands that played in the big hall of the building, the British They Came from the Stars I Saw Them, were a quartet who wore white costumes and whose set presented enough groove, humor and energy to satisfy. The band was capable of rocking out without guitars, inviting audience participation, conjuring up interesting electronic sounds and even improvising. Naomi Auerfeld (vocals, reeds) surprised with a sharp, penetrating yet pure and sweet clarinet tone, particularly in the upper register.

However, the sound in the big hall was deafeningly loud. Especially for the headliners The Orb. Some of the listeners had expected a calmer and more ambient-driven set. Instead, the public was treated to a more beat-driven and noisier side of the band. Towards the end, their set had become a pure rave. Unfortunately, the band's multi-layered and detailed sound was - again - held back by substandard amplification.

The best sound was to be expected at the auditorium, where the public saw the quieter and more introverted acts. The most impressive of them was the German experimental pianist Hauschka aka Volker Bertelmann. He played several objects on and into the strings and thus managed to sound richer than most multi-member bands. His prepared piano sounded fairly orchestral, like a cross between grand piano, harpsichord and xylophone. The result was music that was calm, but dynamic and capable of sustaining interest.

To sum up, Kumu ÖÖ festival included several artists whose concert performance was impeccable. In order to improve from that, it would be necessary to stress the importance of decent amplification a lot more.

*This concert review was published in Estonian in a journal called Postimees. This is the English translation

Yochk'o Seffer - Delire

Although Delire was not Hungarian-born Parisian multi-instrumentalist Yochk'o Seffer's first solo album, it was nonetheless the first from his project Neffesh Music (music of the soul), consisting of him as the composer and the instrumentalist along with a revolving cast of other musicians. On this album he's backed by fellow Zao cohort Jean-My Truong on drums as well as a string quartet led by Michele Margand, who also were members of Zao at the time when this album was recorded (March 1976). All other instruments are played by Yochk'o.

What sets this album apart from his previous work with Zao, as well as his future Neffesh Music projects, was the lack of electric bassist. Therefore, this album includes less fusion/jazz-rock tinge, the dominant presence of acoustic piano and strings along with saxophones clearly hints at an avant-garde chamber rock sound reminiscent of Univers Zero, Henry Cow or possibly even late sixties Frank Zappa. Even within Seffer's varied discography this album is sonically unique, but unfortunately it's overlooked in favor of his other recordings, including Ghilgoul. Nowadays one can hope to buy this record via Ebay and this can incur more-than-average expenses for one vinyl copy. It's that rare!

"Heart" opens with a staccato piano-drums-sax riff, followed by ominous and rigid strings, the atmosphere is very tense and almost Stravinsky like. The main melodic theme is established after a minute with tenor sax carrying the melody, including a bassline that sounds like rendered on fuzz-bass, but is more likely a distorted bass synth that sounds heavy and sinister nonetheless. The same theme is then repeated on strings and Seffer's unique falsetto vocalize. Halfway in the piece switches to a funky drum break backing a tenor sax solo, with interjections from synth and piano.

"Jonetsu For Judith" ("jonetsu" is Japanese for "passion") starts with lush string arrangements and beautiful chord progression, as the prominent tenor sax solos over the chords with passionate agitation. Layers like piano, synthesizer and even overdubbed harmony vocals are added. The piece moves through some tense and dissonant chords that are contrasted by freeform tenor sax. The piece concludes with a moderately fast tempo carried by strings aided with synth bass and some percussion and Seffer's tenor sax gets more intense until the piece stops.

"Orkana" begins with a rubato synthesizer solo backed by sparse piano. First hint at the main melodic themes comes with overdubbed saxophones (sopranino, soprano and tenor). Drums and piano then come in and the same theme gets a beat-heavy basis, with Seffer adding vocalize to the mix as well. This is clearly the most Henry Cowish track on the entire album, as the interplay between drums and piano is pure kinetic chamber rock bliss, with overdubbed saxophones having the lushness comparable to a wind quartet, composed themes contrast with short solos on synthesizer, tenor and sopranino saxophones and Seffer showcasing more of his unique high voice. Halfway the piece switches to a relentless synth solo over a fast drum beat that goes on for a while until the piece concludes with the instrumentation of drums, piano and soprano sax.

"Streledzia" is a short, lush piece for electric piano, vocalize, strings and includes more freeform tenor sax outing. As a modern classical piece it sounds unique with its lush, empathic chord clusters, instrumentation and Coltrane-influenced tenor sax.

While other tracks confirm that Yochk'o Seffer is capable of composing warm, empathic and highly personal forms of avant-garde music combining modern classicism, free jazz and progressive influences, on the title track he pulls all the stops and creates a fusion of atonal classicism and unstructured free-jazz that at times sounds ominous, at times rigid and at other times shows that Seffer as a pianist had a bit of a Cecil Taylor influence. Not a palatable listening, unless you love later period Coltrane and/or Zappa's least accessible classical writing.

"Ima (1ere partie)" is a prelude to his next solo album, combining the low buzzing droning noises of his self-invented sonic sculptures, out-of-control bass clarinets rattling at the background, and haunting melodies carried by Seffer's vocalize, first doubled on a Moog synth and then on tenor sax. This is a mourning piece of proto-ambient music and as a precursor to the 2o minute title track of Ima, it shows that Yochk'o Seffer could also make electronic avant-garde music very well.

Delire is a rare and forgotten record that is unjustly overlooked. Nonetheless, it shows Yochk'o Seffer's boundless creativity as a composer, instrumentalist and improviser. This work transcends the usual trappings of jazz-fusion or progressive rock.

The Notwist - The Devil You + Me

The Notwist from Germany started out as a hardcore punk band in 1989, moving on to melodic indie until finding their own symbiosis of indie, electronica and jazz on their fourth album Shrink (1998). Their previous album Neon Golden (2002), showcasing their indietronic fusion from its more melodic side, was well-received. A six year pause in activity followed. Their latest record The Devil, You + Me is the band's sixth offering that continues the direction of previous two albums. Changes compared to their previous work are minimal, an interesting addition is the integration of orchestral arrangements in songs like "Where In This World" and "Hands On Us". The album nonetheless presents The Notwist at their known goodness. Although some of the electronic glitches already sound a bit anachronistic (it would be welcome to hear other types of electronic percussion sounds), the production is still tasty and Marcus Acher continues his status as a fine songwriter. Nevertheless, the band's best efforts remain their two previous albums.

*This review was published in Estonian in a journal called Postimees. This is the English translation

Adem - Takes

Adem Ilhan is a British indie-folk musician of Turkish origin, whose background includes membership in Fridge (an early band of Kieran Hebden later known as Four Tet). As a multi-instrumentalist he plays all of the instruments himself, often utilizing various broken instruments rescued from flea market. Takes is Adem's tribute album to his favorite music from 1991-2001. He has taken on reputable indie heavyweights such as PJ Harvey, dEUS, Yo La Tengo, Breeders etc, but also Aphex Twin, Tortoise and Björk. The most interesting cover song is his rendition of Aphex Twin's "To Cure A Weakling Child/Boy Girl Song", which is very reminiscent of Penguin Cafe Orchestra. "Gamera" from post-rock eclectics Tortoise becomes a John Fahey-esque acoustic guitar number. Mostly the covers here sound like indie rock anthems unplugged. Although well done, occasionally the record veers into boredom and in general the cover/tribute albums can safely be written off as curious projects rather than endeavors on par with albums containing original material.

*This review was published in Estonian in a journal called Postimees. This is the English translation

The Dynamite Vikings - Meaning of the Party

Estonian-Danish trio The Dynamite Vikings (Jaak Sooäär on guitar, Thommy Anderrson on double bass and Karsten Mathiesen on drums) shows, that the classic power trio format still allows for expression that may not be new given the earlier jazz/avant/prog/improv-rock traditions, but is still interesting and vital. As a live band they're rather impressive. On Meaning of the Party, their third record The Vikings have managed to capture the rawer and rockier aspects of their sounds, while somewhat lacking in live energy and spontaneity. The closest it gets to rocking out is the title track, that includes, in addition to heavier-than-usual guitar, some rather Christian Vander-ish drumming from the eccentric Mathiesen. The most interesting pieces are the last two long compositions with ambient leanings, totaling 16 minutes together. For those interested in this band, I wholeheartedly recommend, in addition to the record, to go see them live.

*This review was published in Estonian in a journal called Postimees. This is the English translation

Cloudland Canyon - Lie In Light

Years ago when Michael Rother (known from Krautrock group Neu!) went to see Stereolab live, he thought he was listening to himself. Then again he admitted that the group also included other stylistic elements to their Neu-influenced sound. How would the legendary Krautrock innovator judge the Cloudland Canyon duo, who is more openly aping the Krautrock legends like Neu!, Cluster, Harmonia, Popol Vuh, perhaps even pre-electronic Kraftwerk? It's understandable that one half of this American duo is also German. However, considering the strong avant-garde legacy in the German music scene (Stockhausen, the cream of the Krautrock crop, Neubauten, Mouse on Mars etc), the inescapable conclusion is that there's nothing new to be found here. Of course Lie In Light is well done and they sound very authentic as a Kraut tribute act. Teutonic feel is in its place here definitely. Particularly in the songs with vocals. A few of the numbers recall early Spiritualized. Nonetheless, Cloudland Canyon could benefit from having more uniqueness to their approach.

*This review was published in Estonian in a journal called Postimees. This is the English translation