BF - Klob

Estonian fusion band BF has taken an ambitious approach on their new album Klob: to combine studio and live recordings as well as composed and improvised materials into a complex avant-rock work. The results are mixed. Weakest spots come across as random noodling, confirming the notion that free-improv is difficult to do well. Another matter is composed material. Particularly successful are the two compositions with brass section: "Jaanalind Diana" bears affinity to Phlox' "Rebimine+Voltimine" album thanks to that band's reedman Kalle Klein's soprano saxophone lines (intertwined with trombone). The horn theme of "Vapper Tinasõdur" is simply gorgeous.

While the improvised material is anything but easy listening, there are moments. For example, the intensity during the beginning of "Korrektor" that resembles Fred Frith's avant-rock power trio Massacre. Or the chaotic trombone and backward sounds during "Kadunud Päev". Klob may not be a masterpiece, but it's often an intriguing record. And its cover artwork is superb.

Lars Horntveth - Kaleidoscopic

Lars Horntveth is the leader and multi-instrumentalist of a Norwegian ten-member electrojazz/post-rock/mini-bigband Jaga Jazzist. Kaleidoscopic is his solo album, where he performs with a drummer as well as members of Latvian National Symphony Orchestra, playing a long, continuous 37 minute composition. In this magnum opus one can discern less jazzy influences as could be expected of his main gig. The jazziest element is clearly Horntveth's bass clarinet work. Otherwise the composer combines influences from Bernard Herrmann style classicism (also referring to Steve Reich occasionally) as well as bedroom electronica and even folk, considering a section led by acoustic guitar towards the end. What we have is an interesting synthesis of classicism, orchestration and modern alternative music directions. Kaleidoscopic is a composition worth listening from beginning to end and it is also confirmation that Horntveth is one of the most forward thinking avatars of our current day progressive music scene.

Animal Collective - Merriweather Post Pavilion

American avant garde group Animal Collective, who also performed a memorable gig in Tallinn a couple of years ago, is one of the main acts associated with the nascense of the so-called freak-folk trend during the last decade. One can certainly note the folky tendencies on the album Sung Tongs (2004), that indeed presented the bold and crazy animal collective at its most acoustic.

At its most simplified one can say that with its crazy eccentricity, shamanic suggestion and spirited affinity to nature, Animal Collective does embody everything that is both idiosyncratically charming as well as overblown and self-important in freak-folk. Then again, AC is too eclectic to fit in to any stylistic limitations as implied by a "scene". They've covered a wide territory actually, from neo-psychedelia and progressive folk to krautrock and noise-pop.
Merriweather Post Pavilion, the band's ninth studio-album, demonstrates that these post-modern neo-hippies as critical darlings have reached to the phase of electronic dance music. Merriweather Post Pavilion itself is a concert venue in the USA, that the band members have particularly fond memories from the childhood, that they've tried to put into their music here as well. AC recorded this album as a trio (of Avey Tare, Panda Bear and Geologist), given that Deakin took time off from the band.

Does MPP imply that AC has gone techno? It would be a sin to represent this album in such an oversimplified manner. It's true that the band's already hypnosuggestive motorik groove is now fed by drum machines and sequences and thus the myth of AC as archetypal freak-folkies is now apparently shattered for good. Otherwise, Collective has stilistically stayed true to their trademark psychedelic atmospheres and the overabundant multilayered nature of their arrangements. And actually the more prominent electronic elements simply underscore the notion that the trademark AC style and the basic essence of electronica are very compatible.

Certainly, MPP is one of the most accessible AC albums. That the songs longer than six minutes are now gone is but one fact to demonstrate it. The same band, who could put fifteen minute jams on the record earlier on. Some of the tunes, "Brothersport" actually have some kind of a "hit" potential.

Still the style of AC is so dense that it remains challenging to the conventional listener. This is still not easy listening. MPP, in its own way, is even more avant-garde than previous albums. It's a great art and challenge to condense ideas into a shorter format that are all too tempting to be expressed during 20 minutes as is the usual wont of experimental musicians. Animal Collective has risen up to the challenge well and delivered their most subtle record to date.

Efterklang Live @ Von Krahl, 26.11.2008

The evening of 26th of November saw Danish contemporary chamber-rock flagship Efterklang perform at Von Krahl Theatre Bar in Tallinn, Estonia. The band who has been compared to acts diverse as Animal Collective, Björk, Arcade Fire or even the famed Estonian composer Arvo Pärt. Efterklang were warmed up by chanteuse Eva Mitreikina, who presented her recently released debut album.

First, Aivar Tõnso served as a DJ. Shortly after half past 9PM Eva Mitreikina appeared onstage, accompanying herself on the acoustic guitar. Although the accompanying instrument was weakly heard, Mitreikina's voice sounded clear. Her fragile, vulnerable and spirited performance also included a touch of childlike sweetness. Her performance was occasionally sabotaged by loud feedback from the mics.

Then the main stars of the evening appeared. Efterklang came onstage as a seven-piece and it was clear that the stage was so small it barely could contain this big lineup and all the equipment that the band used. I was ready for the possibility that perhaps the group's chamber rock sound this evening might be geared a little too heavily on the chamber side of the fence. But surprisingly the balance was pretty good: there were both chamber and rock! The band balanced the soft and loud moments very well, along with composed sections and more freewheeling jams.

Each member performed on at least two instruments. The main drummer in the band often shined with his parts on the pocket trumpet (a compact version of the conventional trumpet that nonetheless sounds no different at all) which when combined with flute or sometimes even alto sax (played by one of the guitarists) formed quite a formidable horn front-line here and there. The lead vocalist also played drums and at the more powerful sections the double-drum attack clearly strengthened the sound. The violinist occasionally also sat behind drums, allowing the main drummer to shine on his brass instrument. Occasionally all three drummers played together. Particularly memorable was the group drum solo at the end of one song which proved that drum solos do not have to be boring. Perhaps the collective interplay did the trick?

One could expect Efterklang to come across as a serious band. However, the band felt freely onstage, their stage banter was humorous and they openly communicated with the audience. The contact with the audience was impeccable. Therefore it is safe to say that with its subtle and eclectic music, shining and energetic live performance and connecting well with the audience Efterklang not only is avant-rock at its most diverting, but this band clearly rendered one of the most memorable concert performances in Estonia this year. One can't help but think how this band would sound like on a bigger stage.



Some photos of the event here.

Terry Riley & Don Cherry - Studio Session, Copenhagen 1970

This unreleased studio session from September 1970, recorded in Copenhagen, pairs minimalist composer Terry Riley with avant-jazz luminary Don Cherry who work with three European musicians handling various wind instruments, percussion and bass. This bootleg contains about 39 minutes of music divided in three distinct parts. Part one is a droney piece in the key of E and heavy on soprano saxophone. Part two where Riley is heard on organ sounds like an early version of "Persian Surgery Dervishes" with jazzy wind solos. Part three however is something really interesting: Riley forms a horn section with Cherry playing slow and plaintive horn lines while another woodwind player takes a wooden flute solo, this is where Cherry's influence is the most felt. Otherwise this is not too far from what Riley did during late sixties and early seventies, but its jazz influence is slightly more pronounced, especially the prominent texture of trumpet, saxes and flutes. If In A Silent Way used minimalist flavor for coloring jazz, then here Riley and Cherry use jazz color to confirm yet another way how jazz and minimalist music could be compatible.

Downloadable via Elasticrock blog.

Frank Zappa - Sleep Dirt

Sleep Dirt from 1979 includes music that originally was intended for the double album in 1976 that was pared down to a single release called Zoot Allures. Then Frank Zappa wanted to put out a quadruple album Läther, but was met with resistance from Warner Brothers who demanded four separate records in order to end the contract. Sleep Dirt is one of those records. Original vinyl release was fully instrumental, more in the vein of Hot Rats styled jazz rock (in fact, the album's working title was Hot Rats 3, I kid you not). For the CD re-release Zappa added vocal and new drum overdubs for the more cabaret-jazz influenced numbers that were originally intended to be part of Zappa's unfinished sci-fi musical Hutchentoot. This review concerns the original version and even so I must admit that the tracks like "Time Is Money", "Flambay" and "Spider of Destiny" are not the strongest tracks on the album, although kind of interesting at places. More interesting are the pieces that retain the instrumental status even on the CD.

"Filthy Habits" is an experimental rock instrumental with its feedback drenched (some backwards) guitar sonics and angular riffs and leads. It has a dark vibe and a great rhythm section of Dave Parlato (bass) and Terry Bozzio tearing it up on drums. "Regyptian Strut" is another "Hutchentoot" outtake, as it was actually intended to be an instrumental overture and thus is spared from the vocal dubs. However the CD version adds Chad Wackerman overdub in lieu of the original drums by Chester Thompson. An interesting pompous piece that is somewhat reminiscent of early King Crimson, but without guitar, as Zappa plays percussion on this track. Bruce Fowler's multiple brass parts really add to the piece. For a more uptempo proto-version, check Wazoo (1972 Grand Wazoo orchestra live) for a piece that then was called "Variant I Processional March".

On the second half of the album we have two outstanding tracks. The title track is sublime acoustic guitar duet that shows Zappa at his most introspective and melancholic, which segues directly into "The Ocean Is the Ultimate Solution", an avant-garde rock improvisation with crazy solos from Frank (alternating between acoustic craziness a la "Nine Types of Industrial Pollution" and screaming electric leads) as well as Patrick O'Hearn doing a damn good job at double bass. Terry Bozzio kills on the drum set. 13 minutes of superb performance which draws this underrated album to close quite nicely.

Kayo Dot - Blue Lambency Downward

New York avant-rockers Kayo Dot are nowadays distancing themselves from both metal as well as the traditional post-rock quiet-loud structures which have seriously devalued today. Although it could be said that the earlier rockier references in Kayo Dot's work have served as an obligatory blandishments for listeners used to expect the chamber-like introspection pay off with a massive cathartic wall of sound. On Blue Lambency Downward, their third album, KD ups their ante on fluidity of free-jazz and the chamber arrangements. Instead of aimless noodling, even though the line is exceedingly thin, Toby Driver treats us to his compositions that are structurally fluid, floating and unpredictable, almost like dreams. Arrangements featuring even more prominent reed (sax, clarinet) instrumentation only help along the surrealist atmosphere of this record. It's telling that Toby Driver has polished his skills in the area of cerebral avant-rock. The result is at times remarkably similar to Tim Buckley's free-rock opus Starsailor (1970). It also confirms that Kayo Dot is nowadays perhaps the best modern equivalent to avant-prog legends Henry Cow.

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

Yochk'o Seffer - Ghilgoul

Ghilgoul is an outstanding effort from reed-man Yochk'o Seffer (known from Zeuhl ensembles like Magma and Zao) who was in his Neffesh Music period, combining complex jazz-fusion stylings with string quartet orchestrations and his own sharp sax skills along with quite adept piano playing. Influences range from John Coltrane to Bela Bartók and Hungarian folk music. "Dag" is a highlight: one of his most accessible and memorable melodies written, a folky jaunt allied with rhythms and textures that suggest avant-prog or Rock In Opposition, along with solid jazz soloing from Seffer on soprano. "Sifra" starts with classical chamber music and transitions into a busy ensemble work with nimble rhythm section work from Dominique Bertram (bass) and Francois Laizeau (drums). Bertram wrote "Dailn" and that is the most overtly Fusion-influenced pieces, while "Larma" features Seffer's trademark falsetto vocalize, harking back to mid-period Zao. The title track is an avant-garde piece in the vein of "Ima", but less droning, combining Seffer's ghostly Ligeti-inspired overdubbed vocal harmonies, sax improvisations, keyboards and strings. The album's reissues have three bonus tracks recorded in 1980 with a different lineup, they feature Seffer extensively on piano and there's an alternate version of "Sifra", skipping the classical intro and jumping headfirst into ensemble section. Recommended for fans of RIO/Zeuhl.

Yochk'o Seffer - Adama

On Adama Yochk'o Seffer played all the instruments himself. On most of the tunes he plays all seven saxophones as designed by Adolphe Sax: sopranino to contrabass saxophones. This was recorded approximately in the mid-1980s and the record actually led to the creation of a saxophone septet to play these pieces in the live setting.

Adama is a worthwhile record, because it offers a chance to hear an otherwise soprano- and tenor-centric saxophonist Seffer to whip it out on the lower-toned saxophones. The title track showcases Seffer's mastery and finely honed improvisation on the bass saxophone. It's not a pure saxophone track as tranquil piano appears in the mix half-way in (followed by additional chords via seven soprano sax overdubs). "La danse des ferrailleurs" is, as the title indicates, a dance number written for low saxes. By contrast, "Lumiere Primitive" has lower saxes relegated to servile status compared to sopranino sax and these eventually drop out leaving the high-pitched sax unaccompanied. On "Polyglotte" the combined textures of all seven saxes sound oddly beautiful and so rich in their orchestral qualities, comparable to the sonic lushness of a string quartet. Dense composed harmonies alternate with unaccompanied baritone, soprano and tenor (in that order) solos.

There is one exception to the pure saxophone (with occasional piano) music of other tracks: "Trablair n°1" where Yochk'o goes for a dissonant avant-garde experiment where he plays six of his sonic sculptures (basically, self-invented, home-made reed instruments), while adding solo sopranino sax and his own voice to the mix. Musically the sound is akin to avant-garde sonic collage, even though it's hard to tell if Yochk'o merely multitracked his self-invented instruments or also went for some auxiliary tape editing. An earlier free-jazz band version was recorded on Perception's Mestari in 1973. A later reissue of this album is called "Adama Ima", with a 22 minute "Ima" added, which is yet again an avant-garde experiment consisting of sonic sculpture drones, sax and vocal harmonies, but more meditative. It was recorded at an entirely different time period, it actually combines the title tracks of Ima from 1977 and Ghilgoul from 1978.

Musically the album's overall style is generally some kind of a fusion of modern classical and avant-garde jazz combining elaborate multi-tracked harmonies and rhythms with free flowing solo improvisations. If Bartók would have composed Third Stream music for a saxophone ensemble, would this have been the result? While not as accessible as his more jazz rock oriented work with Zao and Neffesh Music, this record nonetheless confirms that Yochk'o Seffer is an instrumentalist and a composer with unique singular vision and a drive to do something different every time.

Frank Zappa - Lumpy Gravy

Lumpy Gravy is one of those records which challenges a lot of preconceived notions about music and noise. Essentially, this 1968 Frank Zappa release (his first real solo album) which followed We're Only In It For The Money album, consists of two 16 minute collages of orchestral and otherwise instrumental pieces, studio chatter recorded inside the piano and tape edit sounds in the fashion of musique concrete. It's evident that Zappa is a prime melodist and a skilled arranger judging by the musical segment, but when put next to treated tape sounds and bizarre Dadaist dialogue, the result gives an entirely different meaning to the notion of composition. Originally Zappa wanted to record an all-orchestral piece for Capitol Records, as proposed by a producer for the label. However, there was a thirteen month litigation holding back the release. Meanwhile, FZ had recorded loads of dialog by having people sit under the piano with a sustain pedal depressed, giving the voices the unique ambiance. Putting it all together, we have a record which is not the most accessible Zappa release, but nonetheless features lots of innovative production techniques as well as unbelievable sounds. Not to mention, some of Zappa's best melodies, like "Duodenum", instrumental versions of "Oh No" and "Take Your Clothes Off", as well as a haunting orchestral piece "I Don't Know If I Can Go Through This Again". Lumpy Gravy presents Zappa at his most radical as a composer, arranger, record producer and conceptualist.

Art Bears - The World As It Is Today

Even for post-punk art rock music standards, this is fairly difficult listening. Clearly, this album is not for everyone as this type of music quite often gets unbearably heavy. But then, that's what you can pretty much expect from when you deal with musicians like the whacked-out avant-rock multi instrumentalist Fred Frith, the bizarrely wonderful percussion master Chris Cutler and last, but not least, singer Dagmar Krause (all from Henry Cow). Especially the latter has aroused some of the most contradictory opinions a vocalist can expect. An epitome of classical cabaret beauty (of the strange variety) for some, "fingernails on the chalkboard" for others. And there are moments when she blatantly tests your patience on the record. After the dissonant and mutated piano waltz "Freedom", which climaxes with Frith's angular King Crimson esque guitar feedback and Krause's utterly insane howling shrieks at times overpowering even the guitar feedback itself; i swear you shall write Yoko Ono off as a sedate lounge singer in comparison!

Elsewhere, some of the song highlights include the bizarrely memorable and melodic "The Song of Investment Capital Overseas", slightly laid-back "Truth" featuring an unorthodox use of Clavinet, dark and heavy "Democracy" capturing some of the gloomy atmosphere apparent on Henry Cow's "Western Culture" sessions without its obvious woodwind counterpoints; and "The Song of the Martyrs". This song blends gloomy keyboard chords, backward percussion and sports a bizarrely catchy chorus. Frith and Cutler form a great percussion, bass and keyboards oriented ominous and percolating 7/8 metered groove, while Krause is heard mimicking the kind of deadpan sing-speak delivery you could expect from female (post-)punk singers as she intones: "As we look about us/Things seem worse than ever". Occasionally the band delves into noise, but even the noise tracks can at times seem sonically interesting, at least moreso than some of the worst indulgences by Henry Cow, who was great with composed and structured pieces, but mostly aimless when it came to free improv.

Although not a pleasant listen, this album is nevertheless captivating here and there and needless to say, RIO fanatics definitely need this album. There's lots of great musicianship throughout the entire record and some adventurous sonic experimentation as well. Even if you find political lyrics redundant, musically this is too good to be ignored by open minded listeners.