Kago - Mopskassi Maja

The use of lo-fi methods is motivated by various reasons: often it is the lack of funds for professional recording, but also a deliberate striving for rawer aesthetics. Even though many lo-fi recordings refer to obscured, or non-existent talent (depending on how musical the results are themselves), it is hard to imagine the work of some of the notable lo-fi artists being captured by the professional recording equipment. For Lauri Sommer's bedroom project Kago, homespun charm is also important. Third album Mopskassi Maja is so far his best work. As on the previous two albums, Sommer combines poetic folk-indie, seto folk music and Pastacas-styled bedroom electro-acoustica. Mopskassi Maja is more charming and endearing though, especially thanks to the vocal presence of Sommer's girlfriend Liska Keerberg. The voices of her and Sommer himself may sound out of tune with each other on the a cappella folk song "Laevapuu", but nonetheless the voices match each other quite well and this lends the rendition a hypnotic effect on its own. This record works well with autumnal moods.

Stereolab - Chemical Chords

One of the most widespread myths among critics regarding Stereolab is that all of the band's albums sound the same. An exaggerated version goes that Stereolab, throughout their career, has only recorded one song over and over again. Such statements are present not only in the recent reviews where the critics curse the band for "lack of ideas" or "repeating themselves" (ergo, the typical sins veteran bands get scolded for). Even years ago, when Stereolab was supposedly at the peak of their powers, it was assumed that all Stereolab's songs sound the same.

This is a blatant exaggeration that needs little else for rebuttal than the process of listening to two Stereolab albums from disparate eras in a row: for example, one can contrast Transient Random Noise Bursts With Announcements from 1993 (from the early kraut-inspired noise-pop period) with 2001's Sound Dust (a curious blend of lounge, avantgarde and Chicago school of post-rock).

It serves to prove that Stereolab is still a fairly eclectic band, combining various intriguing styles into a unique whole, that on one hand shamelessly refers to an obscure act or two (who have came in vogue among the alternative music circles largely thanks to guitarist/composer/record collector Tim Gane's meritorious propaganda), while doing it in such a unique manner that we can speak of Stereolab's signature sound. A lot of critics have failed to realize that the Groop progresses slowly but surely, in its own tempo, while ignoring trends and balancing consistency with changes.

True, Fab Four Suture from 2006, a collection of seven inch singles, refered to the dearth of ideas, considering how similar it sounded to the 2004's Margerine Eclipse (first Stereolab album missing the late Mary Hansen). Fortunately, on Chemical Chords, Stereolab does not try too hard to sound like a classic(ist) Stereolab. New Lab sounds poppier, more concise and focused than before. There's also less emphasis on the usual analog synth sounds and Sean O'Hagan has returned with his arrangement expertise for strings and brass. Live instruments are clearly more emphasized on this album.

It is true that Chemical Chords does not sound as innovative or avantgarde as Stereolab's previous albums. Nonetheless, the band deserves admiration for staying true to themselves, especially when they perform in their own style well, which they certainly do on this album. Here, there are hints to both early, rock oriented Stereolab ("Valley Hi" and the instrumental "Pop Molecule") as well as the loungier period (the title track, "Self Portrait With 'Electric Brain'", "Fractal Dream of a Thing"). First and foremost we find prime Stereolab styled pop ("Neon Beanbag", "Three Women" etc), but also a few eccentric moments such as "Nous Vous Demandans Pardon" with its militarist machine like syncopated beat or "Daisy Click Clack" with its ragtime piano. A beauty on its own is the album closer "Vortical Phonotheque" with its Sound Dust meets Abbey Road vibe. A well done work from the veteran avant-pop group.

Soft Machine - Fifth

Robert Wyatt's departure prior Fifth was arguably the most serious band-member loss Soft Machine ever had to endure. Not only was the main tie to rock music, a good drummer, a solid composer, and the only vocalist lost, but also sense of anarchy, eccentricity and warmth was robbed too.

However, Softs could still pull off a potent statement. Wyatt's initial replacement on drums was the flamboyant Australian guy Phil Howard, a friend and musical partner of Elton Dean. His drumming was freely structured, so you could not trace real time signatures, but a pulse beneath the dense unpredictable polyrhythms. This of course wasn't to the liking of Mike Ratledge and Hugh Hopper and Howard's free-jazz orientation led to his dismissal.

First two compositions, "All White" and "Drop", by Ratledge, present the avant-jazz sound at its most compelling. Howard creates an intense pulses on these two tracks which have, despite chaos, quite driving grooves. These two pieces are also the standout tracks on the album. "All White" starts with eerie saxophone lines on the background of spooky drone until the drums come in and we're off to jazzy realms. This tune altogether sounds remarkably colder compared to the warmth of Third and Fourth. Actually, practically the whole album is cold and bleak in mood and it's also purest jazz played by SM with few if any rock sensibilities. So this demonstrates that Wyatt's departure made a huge difference.

"Drop" is the closest thing reminiscent of earlier days, as it sounds a bit like a Third outtake with its psychedelic tape-loops in the beginning and intense fuzz-organ solo following,not to mention that bass and drums are also groovy, if reminiscent of the conflict between freeform exuberancy (Howard) and more disciplined approach (Hopper).

"MC" sounds like a rewrite of "Fletcher`s Blemish" on Fourth, only where that improvisational tune was hot and dramatic, this is cold as ice. Also, this is arguably the least successful Hopper pen for the Softs. There are some atmospheric cymbal washes and brushing from Howard on it, though.

But Howard was naturally forced to leave the group and in was John Marshall, whose drumming is more solid and he sounds more like a professional, if a bit stiff and masturbatory, especially as demonstrated on his drum solo "LBO" (clearly a filler). Although minimalist, "As If" is the closest as it gets to the avant-garde jazz with Marshall, even though the BBC Radio recording with Howard on drums has more urgency to it.

"Pigling Bland" is actually taken from the "Esther Nosejob" suite played live in the Wyatt-era. This is definitely the most melodic moment on the bleak austere improvisational jazz record, but one needs to dig out Virtually live performance (with Wyatt drumming) to see how the band has changed rapidly. Without Wyatt to inject the sense of warmth and freewheel into it, the tune now sounds cold and restraint.

Fifth ends with "Bone", which is actually an ambient track based on Dean's introductory sax solo to "All White", only that Ratledge is playing the solo in his fuzz organ solo which sounds truly night-marish and the background droning only provokes more eerieness. As for Dean, he contributes an uncredited freeform, out of control recorder playing in the background, it being a lone fragile voice among the cruel and bleak surrounding sounds.

To compare with Fourth, Fifth sounds quite different, the overall feeling is cold and detached as opposed to the inviting warmth of predecessor. This may be due to Wyatt having gone, but his passionate drumming is not the only factor gone. Hopper's fuzz bass sounds are almost absent from here too, likewise, most of the keyboard work is done by electric piano, only a few fuzz-organ solos here, which is sad, considering how diverse and inventive keyboardist Ratledge had been, from fuzz attack to sweet psychedelic organ flourishes. Electric piano sound just doesn't have enough warmth on here. At least the free-form leanings are still present, which would start to disappear after Karl Jenkins replacing Elton Dean and leading SM to the point where they were the Soft Machine in name only.

Maria Faust - Bitchslap Boogie (+Interview)

MARIA FAUST - BITCHSLAP BOOGIE

Bitchslap Boogie indicates that Denmark-based Maria Faust is one of the most promising young jazz musicians hailing from Estonia. Even though the material on the record sounds more restrained than can be expected from this outstanding octet onstage, nonetheless we can conclude that Faust (alto saxophone) is a composer and arranger of formidable talent.

On one hand, Faust's music refers to the American progressive big band jazz traditions, as exemplified by Gil Evans, Charles Mingus, Carla Bley, even Frank Zappa's jazzier output. But on the other hand, the blend of angular brass harmonies, counterpoints, complex rhythms, free improv, rock elements and classicism draws parallels to the British avant-garde jazz scene such as Graham Collier, Keith Tippett and Chris McGregor.

Nonetheless, Maria Faust has developed her own unique approach. She is able to make her complex, multi-layered compositions sound romantic, tender, womanly and empathic. First half of the album tends to be mainly introverted, restrained and melancholic ("Dreams", "Lonely Woman"), while on the second half one can recognize the composer's swinging and sassy side ("New Panties and Boots", "Dance Dance"). It is certainly recommendable to keep an eye on her further creative activities.

Maria Faust - Estonian Jazz Ambassador In Denmark

Maria Faust (29) is a jazz saxophonist and composer born in Saaremaa, Estonia, who is making music in Denmark. Her octet has achieved a good reputation among the jazz circles throughout the world. Recently Faust unleashed her debut album "Bitchslap Boogie"

When did you start learning music? Why did you eventually choose to play the saxophone?

I started piano lessons at 7. I already knew I wanted to be a musician at 4. I don't know why did I eventually choose to play saxophone. I suppose it just suits my nature. Since it is useful to play well at least two instruments, I still practice the piano.

You studied conducting the brass band in the Estonian Music Academy. Whence the decision to depart for studies in Denmark?

I felt that I was starting to lose myself. I realized it is not possible to play two kinds of music (classical, jazz) at once, but sadly the possibilities to study jazz in Estonia were meager. I needed to practice and play as much as possible.

As you play in a horn-heavy octet, what are the advantages of the bigger line up as well as its challenges?

Regarding challenges, first it is expensive. Second, it takes time for the band to develop their own sonic language. It is also important to observe that the music does not degenerate into noise. The importance of pause in music is understood by many, practiced by few.

Still the lineup has justified itself, it sounds just like I have always wanted it. The musicians are to me like a family, we have common dreams and viewpoints.

There are apparent feminist tendencies in your work. How do you associate feminism with jazz?

Indeed, I am a feminist, my work is inspired from women. I'm also worried about the shortage of jazz instrumentalists. There are only four female jazz students (excluding singers) out of 200 in the Copenhagen Rhythm Conservatory.

There are hundreds of reasons why there are few women in jazz. A sixteen year old boy and a girl from the same age just cannot find common ground during jam sessions, so the girls start avoiding jam sessions, their growth as a musician is stunted and only few decide to become professional musicians.

Even though your pieces are instrumental, they nonetheless appear to have their own story.

Music is indeed full of imagery, each piece is about some kind of experience. "New Panties and Boots" is about my stay in New York. I deliberately used overwriting to illustrate the essence of the city. I was about to go buy an iPod, but instead I walked in to Victoria's Secret and bought a bunch of panties.

Several of your pieces have left a lasting impression live. Still, they sound somewhat different on the record.

We had to change a lot of our material. Nonetheless we strived to retain the basic live feel. Most of the stuff were recorded in only a couple of takes, I've deliberately left in some mistakes, everything remained authentic. I like the dry sound, natural timbres, the art to me is promise of the beauty. I can't stand perfectionism, I don't understand those who polish, prepare and practice. I need action, right here and now. No excuses!

Is it possible to survive as a musician?

Just as there is applied art, there is applied music. Playing that enables you to get by. Unfortunately I am too sensitive for that, I cannot play five hours in a row for dance. It kills creativity. Somewhere the line is drawn how much one can afford to make music solely for money.

Review and interview translated from an Estonian article in Postimees.

Soft Machine - Six

After cutting Fifth with the Soft Machine, Elton Dean, who was dissatisfied with replacement of Phil Howard with John Marshall on drums, quit and Marshall ushered in Karl Jenkins (keyboards, oboe, saxophones). This double album, consisting of live and studio disks, continues in spades with the austere jazz improvisations on Fifth, but the sense of free-form is vanishing, as Jenkins' approach to playing and composing is far more slicker and sedater than improvised madness of Dean. While listening to the live rendition of "All White", it is noticeable how mild and unassertive Jenkins' oboe soloing sounds. He certainly sounded nothing like Elton Dean.

With Dean and eccentric drummer Robert Wyatt (who quit in 1971) gone, and Jenkins+Marshall in their places, the Soft Machine's jazz-fusion sound is lacking the same free-form mania prominent on other Softs live sets like Noisette or Virtually. Having said that, there's a lot of worthwhile material. "Riff" is indeed one of the catchiest and most arresting moments on the live disk, with Hugh Hopper playing a tricky bass-line and Marshall showing how the most difficult time signatures could groove and Mike Ratledge contributing an acidic organ solo. "37 1/2" is another fine odd-metered groove, although Jenkins' oboe soloing is an acquired taste, especially considering he plays the head on baritone sax, but switches to oboe on some reason for his solo. "Gesolreut" gets real funky and this tune is reminiscent of some of the groovier jazzy moments to be heard on Hopper's 70s solo albums. "Stumble" is possibly one of the most rock-oriented moments on the whole album. Marshall gets a drum solo ("5 from 13...") lasting for five minutes and as such is a filler.

The studio disc is even more interesting than the live one. "Soft Weed Factor" sounds very ambient and hypnotic, a genuine slow Riley inspired trance-rock piece. "Stanley Stamps Gibbon Album" is a fast-paced vehicle for Ratledge's organ soloing. "Chloe and the Pirates" again fuses ambient and jazz-rock, even recalls In a Silent Way era Miles.

But the most intriguing and the best composition is the final composition by Hugh Hopper who would leave the band soon because "Softs had became a rather ordinary jazz-rock group without enough quirks or weirdness". "1983" indeed is the last time one could hear real weirdness on a Soft Machine album. It is similar to Hugh Hopper's first solo LP 1984 with hypnotic loops, manipulated and angular bass motifs plus weird sound effects.

In conclusion, while it lacks the impact of the earlier works of Soft Machine, Six has its moments and proves one need not write all Jenkins-era material off as garbage, although some of it most certainly sounded a bit dull and it's questionable whether the Soft Machine deserved to go on with that name even when Hopper and Ratledge were both out. Jenkins-era Soft Machine is a classic case of a band that did not know when to quit.

Van Der Graaf Generator - Trisector

Trisector is the second Van Der Graaf Generator album since their recent reunion. This time without sax/flute player David Jackson. The album's title pretty much refers to (and signifies) the current trio lineup of VDGG. Compared to the downbeat Present, Trisector is more uptempo and at times even rocking. The band even opens up with a surf rock instrumental titled "Hurlyburly". At least this shows that VDGG are still doing something different. Much more convincing display of the VDGG sound is found in their longer prog and jazz influenced themes. Pieces like "Interference Patterns", "Lifetime" and the epic 12-minute "Over the Hill" show that the band can carry their sound even as a three piece. Hugh Banton's wide ranging organ tones and Guy Evans' fluid and subtle drumming support the distinctive voice of Peter Hammill securely, while having a role just as important as the vocals. In terms of interplay, fine textures and introspective feel they outshine just about any post-rock group, another asset being a lifelong experience of playing. Years later VDGG is still the most vital of the vintage progressive rock groups out there.

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

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.