The Intersection: Alog

The Intersection is an ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

Alog (duo)

Unemployed (Rune Grammofon; 2011)
Espen Sommer Eide (percussion, trumpet, electronics)
Dag-Are Haugan (guitar, electronics)

The Norwegian duo, Alog have matured with each release. As they've grown, so have the sound techniques and dimensions of their recordings. Their fifth full-length release, Unemployed, is a major milestone in the duo's development.


Built on pure improvisation, Alog looked to create a soundscape on the spot as opposed to starting with one theme. Yes the ideas how to start the first few notes or lines was always a part of the mix but after that it was up to the participants to decide where to go next.

Unemployed is a testament to the free flowing aesthetics of European music and what it means to go beyond genres. In some ways this is almost the most alternative and accessible record to date by the group. The album features collaborations with a variety of fellow Norwegian musicians including Sigbjorn Apeland (of 1982 Trio). "Orgosolo" features the duo's signature harmonic drones but with the inclusion of what feel like deep horns and pulsating organ-like movements, Alog have created a haunting operatic and transcendent hymn.


"Unemployed" revolves around a looping hypnotic gallop that would make A Guy Called Gerald and Aphex Twin very excited. It's a wintry mix of loops, clangs, claps and effects that swirl into a melody. It gave me memories of Bruce Gilbert's (of Wire) side project He Said. Dreamy and evolving work that leads the listener along a journey beyond sound borders.

"Last Day At The Assembly Line" could easily be part of a Throbbing Gristle, Cabaret Voltaire or Test Department album. There are "found sounds," electronics and drums that blend into a tribal cacophony that sounds like a cello/fiddle ensemble gone mad. The piece later gives way to a melodic drone and the buzzsaw of cacophony is laid underneath. Only to return towards the end with a vengeance along with a number of counterpoints. "Bomlo Brenn Om Natta" featuring warped vocals by Dutch poet, Jaap Blank, is rhythmic and intense like some of the better work by Moby. Not danceable but an intense beautiful listen.

"Januar" is a return to their previous work. It's beautiful ghostly atmospherics have a repetitive nature that are dreamlike and pull you further into the speakers to Alog's own "third world." Again, Alog have moved a little bit further than their contemporaries with ideas that seem so remote but yet feel deeply personal and accessible. Unemployed is sublime and highly recommended.

The Intersection: Skyphone

The Intersection is an ongoing feature on JazzWrap that looks at artists that have blended jazz and electronics in new and highly creative ways.

Skyphone (group; formed 2004)
Keld Dam Schmidt (guitars, electronics) Mads Bødker (keyboards) Thomas Holst (bass, electronics)

As jazz, electronica and ambient continue to merge and blur the traditional fabric of our conception of any particular genre, some groups are slowing bringing these influences into focus. One such band is the Danish trio, Skyphone. Skyphone have only released two albums so far, but they have quickly developed into a trio with a panache for acoustic and electronic framework that takes the listener on a journey through territory laid out by such innovators as Michael Brook, Steve Riech or Brian Eno. Atmospherics are part of the program here but also melody and themes.

On their debut, Fabula (Rune Grammofon; 2004) the group explored ice cold and emotional aspects consistently associated with other artists from the Scandinavian region (Alog, Supersilent, Food, et. al.) but Skyphone seem to force through enough gentle melodies reminiscent of early Kraftwerk that make this outing slightly different. "In Our Time" and "Mengpaneel" feature the right balance of acoustic and electronics mixed with various tape loops that show an increasing sign of improvisational thinking amongst the trio. "Kinamands Chance" and "Gossamer" are the real standouts for me; with touches of Marilyn Crispell tweaks, blip and pings at the keys and then delicate percussive instrumentation. Fabula is a foundation record with various enlightening themes.

Their second and most recent album, Avellaneda (Rune Grammofon; 2008) is the "fully operational Death Star" so-to-speak. Avellaneda is an album of new found soundscapes that starts with the sprightly "Cloudpanic" an electronic and guitar driven piece that is the perfect transition from Fabula's experimental moments. "All is Wood" has a Spring Heel Jack, Spiritualized, far Eastern ethos about it that is compelling as well as inviting. "Schweizerhalle" and "Quetzal Cubicle" both utilized some nice acoustic guitar work making these two piece feel almost folksy, like instrumental Beth Orton tracks. The atmospheric remain throughout but are tightly layered with the acoustic instrumentation especially on the two closing tracks "Leafchisel" and "Yetispor" in the a manipulated accordion seems to used with great hypnotic effect.

Skyphone are amongst a multi-handful of artists that are exploring what can be done with live instruments and electronics from a jazz/worldly perspective. It's great to know all of them have various different ideas on what to do, making this almost un-categorizable genre fun and interesting and diverse.

The Intersection: Elephant9

The Intersection is an occasional feature on JazzWrap that looks at artists that blend jazz with electronica (a tradition pioneered by none other than Miles Davis on such classic recordings as On The Corner and Bitches Brew).

Elephant9 (group; formed 2008)
Ståle Storløkken (organ, synths)
Nikolai Hængsle Eilertsen (bass)
Torstein Lofthus (drums)

Elephant9 is a new trio established by Supersilent/Humcrush keyboard master, Ståle Storløkken. Ståle Storløkken as a vital part of both the aforementioned groups, becomes the focal point of his own trio in Elephant9. With incredible support from Nikolai Hængsle Eilertsen and Torstein Lofthus, Elephant9 have created a retro-world influenced by Miles Davis' electric era led by Hancock and Zawinul, Weather Report, OM, Can and psychedelic swirls of German and Italian sexy horror flicks from the '60s.

Where Storløkken utilizies keyboards and other electronics in Humcrush and Supersilent, for Elephant9, Storløkken mainly focuses on his work with organ. And that organ drips with a heavy dose of Zawinul and possibly Larry Young.

Their first album, Dodovoodoo (Rune Grammofon, 2008) was exciting and a fiery blast out of the normally somber electronic work from this great label. Tracks like the funk-punk of "Dodovoodoo." "Directions" (Miles Davis/Joe Zawinul penned piece) and "I Cover The Mountain Top" all show how Storløkken has been influenced by the best of 70s era fusion. The album sparkles in it dense, moody, post-prog approach. While obviously paying homage it does demonstrate a 21st Century structure that few groups can master at the moment.


The new album from Elephant9 is Walk The Nile (Rune Grammofon) and delivers a heavy, funkier tone as demonstrated by the opener, "Fugl Fonix" and "Hardcore Orientale" which rips through your ears with blistering pace. While led by Storløkken's organ work, for me Hængsle Eilertsen's funky, chaotic bass steals the proceedings. "Aviation" while settling things down (a bit) still keeps the focus fast paced and in your face with some great electronic manipulation. Lofthus' timing throughout Walk The Nile is incredible. His work makes this much more than just a crazy prog meets jazz album. "Habanera Rocket" is another gentle giant of a track. It builds slowing on the interplay between Storløkken and Hængsle Eilertsen until it reaching a cacophonous conclusion that really takes on rock status. Walk The Nile is a great advance forward for the band.

Elephant9 is rock inspiration for the fusion jazz crowd. Elephant9 is also a avant garde jazz introduction for the rock crowd. This is heavy stuff and fun to listen to angry and even sober. Enjoy.