 |
| Track list: 1. Ras Mohammed 2. Gilimanuk 3. Moute Cave 4. Jackson Reef 5. Puri Jati 6. Lamna Reef 7. Amed 8. Martoli Bridge 9. Kingfish Castle 10. Maddagala Running time: 45 minutes Released: 2016 |
More Scandi-jazz, bought alongside Atmosphères - though I have been familiar with Molvær for longer than Henriksen. I was first attracted by description of how the trumpet was laid on over electronic soundscapes but to be honest since my initial purchase (NP3) I think I may have been picking stuff up based on name recognition and concept rather than any deep appreciation of Molvær's actual material. This will be a good litmus test.
It opens with a heartbeat-sounding throb, but then introduces prog-rockish guitars, the horn lurking inside melodies that wouldn't be out of place in a concept album. The piece picks up some pace about the 2.30 mark and it has a decent life to it, but it is a little removed from anything I could have expected going in. I am starting to wonder whether a trumpet appears at all in this Pink Floydian first tune when I hear a snatch of it, unmistakable. It is not the star though, part of the ensemble here.
As we leave prog-rock behind for the start of the second track, the attention does focus on the blower. This tune is slower, languid, and with a hint of danger. Night time noir music - I have used this description many times by now and I still find it the most easily evocative phrasing for what I mean. Rooted in soundtracks, night shots of cities, aerial or street shots, camera pans - scene setting stuff rather than accompanying the action or showdowns - but definitely reminiscent of a certain type of tension. Jazz is good at this, even when not made by the Americans that come most readily to mind when thinking of Noir. Even when the sounds are more modern than the "classic" noir era would support. I think its fair to say I like Gilimanuk, though the name could use some work.
After a brief interlude we hit a more percussive number, Jackson Reef being driven by a high tempo and heavy on the electronics. The themes that come out dominant are actually slow, low and spaced out affairs, and the contrast between this and the incessant pace set by the drumming creates a decent cauldron before the melodies get a bit of a fuel injection and become more intricate for a while. I prefer the contrast though, and when that comes back the track improves again. About a minute from the end the percussion dies out and we get an outro that feels like a different track. Similarity is maintained in the guitars and the lonely trumpet strikes up to carry us home, outlasting the strands of continuity. It makes for a strange ride of a tune, but apart from the moment where the drums just stop it works quite nicely and organically.
I have, I am sure, mentioned before about my weakness for long, lonely notes. I find that the trumpet is pretty much king when it comes to delivering on this. There is a yearning in the natural timbre of this instrument that when employed in certain fashion or style becomes the dominant and overriding emotion in the piece. Puri Jati has this in spades and I really like it. The tune also manages to hark back to the Bastion soundtrack by virtue of its low-end structures, and that reference makes me smile. The two themes I picked up there should be incongruous in many ways but I find they knit together well. As I consider that, the disc plays on and a slower number lazily reaches out to my ears. There is definite variation on this disc, which is a plus-point... though as I type that the electronics evolve into a high pitched squeak and make for a rather unpleasant end to the track.
Amed is the longest track on the disc. To now, everything has been relatively short and sweet, lending a feeling of momentum even on the tracks with less pace. This one stretches to 9 minutes, and as such I am expecting a centrepiece.
It starts slow, atmospheric, and builds. Mostly bass and trumpet, the former bringing threat and the latter bringing hope. When, about half way through, the guitars and electronics arrive they emphasize the first of these two elements, and it becomes a dark, screechy track, long drawn out screeches, cries for help. The drums and bass pick up speed and the thrumming basis for the piece grows around the electronics, establishing dominance. It has definitely built, and it definitely works as a focal point for the disc. The trumpet, meanwhile, disappeared somewhere along the way; what results is a piece that I like but which could be by any number of purveyors of electronica. Then it all goes quiet, the trumpet returns and we end with a final act that bids recollection, reminiscence. A masterwork it isn't, but it is a good solid epic around which to build the album.
Three tracks come after. The first is short and reverential, Molvær's horn standing alone, with some background static that hints at waves; it's a nice palate cleanser. The next actually resonates with the title of the album, the rhythms here conjouring images of a boat rocking on waves, tipping cargo gently from side to side and making soft impacts each time. Its a lovely effect because whilst the reality of boats bobbing on waves isn't as regular as the rhythm behind this sound, the actual beat pattern carries a feel of irregularity to it, whilst still serving as the backbone for the themes that are layered over it. This might be my favourite track on the disc, and I have only really taken on board the percussion. The bobbing percussion is dropped at the end, along with all themes, for an engine-like rumble that just sees the tune out; this I find an odd choice, and a disappointing one.
The final track feels lighter, pairing the trumpet with a nice guitar theme which gives me a Mogwai-like vibe, albeit perhaps a little more chilled. I can't shake the feeling it goes too long without introducing major variation though, and it all merges to become a little bland as a result. Nice sounds, but going nowhere, if you will. There is a shake up in tone and theme about the midpoint of the track but it feels too late. The tune, particularly the trumpet line, is nice but my brain has already disengaged a little, the smell of food cooking, and the knowledge of work to do.
All in all, I think this is a nice disc, and one I can see spending more time with, but not anything outstanding. Molvær's ideas are interesting and worth exploring, even if they don't always reach that one step further that would turn them to genius.
It opens with a heartbeat-sounding throb, but then introduces prog-rockish guitars, the horn lurking inside melodies that wouldn't be out of place in a concept album. The piece picks up some pace about the 2.30 mark and it has a decent life to it, but it is a little removed from anything I could have expected going in. I am starting to wonder whether a trumpet appears at all in this Pink Floydian first tune when I hear a snatch of it, unmistakable. It is not the star though, part of the ensemble here.
As we leave prog-rock behind for the start of the second track, the attention does focus on the blower. This tune is slower, languid, and with a hint of danger. Night time noir music - I have used this description many times by now and I still find it the most easily evocative phrasing for what I mean. Rooted in soundtracks, night shots of cities, aerial or street shots, camera pans - scene setting stuff rather than accompanying the action or showdowns - but definitely reminiscent of a certain type of tension. Jazz is good at this, even when not made by the Americans that come most readily to mind when thinking of Noir. Even when the sounds are more modern than the "classic" noir era would support. I think its fair to say I like Gilimanuk, though the name could use some work.
After a brief interlude we hit a more percussive number, Jackson Reef being driven by a high tempo and heavy on the electronics. The themes that come out dominant are actually slow, low and spaced out affairs, and the contrast between this and the incessant pace set by the drumming creates a decent cauldron before the melodies get a bit of a fuel injection and become more intricate for a while. I prefer the contrast though, and when that comes back the track improves again. About a minute from the end the percussion dies out and we get an outro that feels like a different track. Similarity is maintained in the guitars and the lonely trumpet strikes up to carry us home, outlasting the strands of continuity. It makes for a strange ride of a tune, but apart from the moment where the drums just stop it works quite nicely and organically.
I have, I am sure, mentioned before about my weakness for long, lonely notes. I find that the trumpet is pretty much king when it comes to delivering on this. There is a yearning in the natural timbre of this instrument that when employed in certain fashion or style becomes the dominant and overriding emotion in the piece. Puri Jati has this in spades and I really like it. The tune also manages to hark back to the Bastion soundtrack by virtue of its low-end structures, and that reference makes me smile. The two themes I picked up there should be incongruous in many ways but I find they knit together well. As I consider that, the disc plays on and a slower number lazily reaches out to my ears. There is definite variation on this disc, which is a plus-point... though as I type that the electronics evolve into a high pitched squeak and make for a rather unpleasant end to the track.
Amed is the longest track on the disc. To now, everything has been relatively short and sweet, lending a feeling of momentum even on the tracks with less pace. This one stretches to 9 minutes, and as such I am expecting a centrepiece.
It starts slow, atmospheric, and builds. Mostly bass and trumpet, the former bringing threat and the latter bringing hope. When, about half way through, the guitars and electronics arrive they emphasize the first of these two elements, and it becomes a dark, screechy track, long drawn out screeches, cries for help. The drums and bass pick up speed and the thrumming basis for the piece grows around the electronics, establishing dominance. It has definitely built, and it definitely works as a focal point for the disc. The trumpet, meanwhile, disappeared somewhere along the way; what results is a piece that I like but which could be by any number of purveyors of electronica. Then it all goes quiet, the trumpet returns and we end with a final act that bids recollection, reminiscence. A masterwork it isn't, but it is a good solid epic around which to build the album.
Three tracks come after. The first is short and reverential, Molvær's horn standing alone, with some background static that hints at waves; it's a nice palate cleanser. The next actually resonates with the title of the album, the rhythms here conjouring images of a boat rocking on waves, tipping cargo gently from side to side and making soft impacts each time. Its a lovely effect because whilst the reality of boats bobbing on waves isn't as regular as the rhythm behind this sound, the actual beat pattern carries a feel of irregularity to it, whilst still serving as the backbone for the themes that are layered over it. This might be my favourite track on the disc, and I have only really taken on board the percussion. The bobbing percussion is dropped at the end, along with all themes, for an engine-like rumble that just sees the tune out; this I find an odd choice, and a disappointing one.
The final track feels lighter, pairing the trumpet with a nice guitar theme which gives me a Mogwai-like vibe, albeit perhaps a little more chilled. I can't shake the feeling it goes too long without introducing major variation though, and it all merges to become a little bland as a result. Nice sounds, but going nowhere, if you will. There is a shake up in tone and theme about the midpoint of the track but it feels too late. The tune, particularly the trumpet line, is nice but my brain has already disengaged a little, the smell of food cooking, and the knowledge of work to do.
All in all, I think this is a nice disc, and one I can see spending more time with, but not anything outstanding. Molvær's ideas are interesting and worth exploring, even if they don't always reach that one step further that would turn them to genius.
No comments:
Post a Comment