Interstatic & Metallic Taste Of Blood

Interstatic (trio)

Interstatic (Rare Noise Records; 2012)

Jarle Vespestad (drums)

Jacob Young (guitar)

Roy Powell (organ)

Metallic Taste Of Blood (quartet)

Metallic Taste Of Blood (Rare Noise Records; 2012)

Eraldo Bernocchi (guitars)

Colin Edwin (bass)

Jamie Saft (piano)

Balazs Pandi (drums)

Two very interesting and very different records from future fusion label, RareNoise, to talk about today. First, a lovely post-modern piece from the trio Interstatic. Then a real slice of grinding and pulsating rhythms delivered by the quartet, Metallic Taste Of Blood.

Keeping in a very similar tone as their debut, Anthem, Interstatic have delivered a delicate and enchanting self titled second effort that will resonant with fusion fans. Jacob Young seems very loose and inspired in this more free arrangement of sound. Vespestad is a bit more reserved but sound excellent as always. This seems to be the nature of this trio which provides a mellow shade of joy, reminiscent of early John McLaughlin's works.

"Stills" and "First Vision" both open the window for the listener, into a gentle almost folkish journey with swirls of psychedelia as layered by Powell's organ. "Elevrum Incident" is where this trio really rock out and sound like some of the best fusion of '70s. It's tight, crisp, funky while still maintaining a clever jazz unity. A rewarding second effort that builds on Interstatic debut.

Moving in a slightly different direction, Metallic Taste Of Blood, debut with a self-titled release that is exciting not only for a rich sense of ideas but also its solid musicianship. Featuring members from diverse sonic backgrounds (Merbow, Masada, Porcupine Tree, and ambient collaborations), Metallic Taste Of Blood is big of sound. The use of echoing effects and an all-out purpose of grandeur makes tracks like "Sectile" and "Schizopolis" powerful statements that have to be heard over and over. 

"Schizopolis" is a monster tune that features funky and pounding drum lines, quirky keyboards and insane guitar riffs that might make Robert Fripp smile. "Bioplar" somehow blend the ethereal aspects of Bernocchi has done with Robin Guthrie with the wall of sound of Metallica, creating a beautifully harmonic piece. "Transverse" perfectly closes this album on a cinematic tone. It's not as forceful as it proceeding numbers and has just the right blend of ambient textures.

Two stellar releases with different angles to enjoy. Interstatic with a really well balanced and advanced second effort of folkish fusion. And then the avant-rock of Metallic Taste Of Blood that combines a host of rock ideas into a other-worldly affair. Two releases well worth seeking out.

Supersilent

Supersilent (group; formed 1997)
10 (Rune Gramoffon; 2010)
Arve Henriksen (trumpet, electronics, drums)

Helge Sten (guitars, electronics)

Ståle Storløkken (keyboards)

With the departure of Jarle Vespestad on drums many fans didn't know what to expect from the always excellent Norweigan powerhouse, Supersilent. What we get is Supersilent 10--the most realized, acoustic and personal Supersilent album to date. I have always recommend Supersilent 6 as the first album to go towards but I think I may have change that thought.

10 has the architecture of a good Throbbing Gristle date mixed with best motifs from Harold Budd and Brian Eno. The performances by Stolokken, Sten and Henriksen are absolutely brilliant. As with each Supersilent album the tracks don't have names on numbers.

Openning on the usual atmospheric note and then flowing into more dense pastures "10.2" and "10.3" both shine brightly with the electronic effects from Sten but also the acoustic work of Storlokken on piano and Heriksen's muted spaced outed trumpet are amazing. "10.5" sounds like something that could easily fit on Throbbing Gristle's D.O.A.: Third And Final Report album. Dense, chilling stuff.

With the exploratory journey of "10.6" which feels like some of the moments of Harold Budd or Michael Brook and Jon Hassell. It's is poignant track that shows how this group has grown over the last 13 years. 10 is not a silent ambient trip or a roller coaster into white noise. It is much more than that. Storlokken is pushed into the front more on this album than ever before. His performance on gentle patterns on "10.7" are a loving lullaby that highlighted even more by Henriksen's delightful lyricism that flies along side Sorlokken on grand piano.

On "10.8" Henrikensen shows a similar understanding on liner patterns and ethereal beauty that could rival Jon Hassell. "10.9" is a fiercely atmospheric heavy piece driven by electronics which feels like Budd meeting T.G. in a cafe for a lively discussion of sound.

"10.12" closes the session in the exact manner it began--an adventurous, heavy journey into soundscapes that draws you in and doesn't really let go. It's a haunting piece driven by Storlokken's pounding keys and some electronic manipulation by Sten and Henriksen that is truly beauty in its conception.

Having had the pleasure and honour of seeing them live I can honestly say 10 is for me, without a doubt, the first time Supersilent have really stretched out in their vision and scope. These are heavy yet beauty stories told in just under an hour. Why this group hasn't seen wider recognition across the globe is bewildering me. This is the stuff landmark records are made of.

(Video footage: Supersilent 7 (Live DVD))

Atomic: Theater Tilters

Atomic (group; formed 2000)
Theater Tilters (Jazzland; 2010)

Fredrik Ljungkvist (sax; clarinet)
Magnus Broo (trumpet)
Havard Wiik (piano)
Ingebrigt Haker Flaten (bass)
Paal Nilssen-Love (drums)

Atomic along with The Vandermark 5 are probably the two most important free jazz groups around today. The similarities are obvious. Each has a unique sound world that embraces both structure and freedom. But in the case of Atomic, the Swedish/Norwegian quintet utilizes a little more subtle melody, thanks to the inclusion of Havard Wiik on piano.

Theater Tilters is the groups second live album (a two disc set) and as with the first live (included in the three disc set Retrograde from 2008), Atomic prove they are growing increasingly innovative and versatile. The album was recorded over two night in October of last year.

Theater Tilters opens on a lovely violent and discordant note of "Green Mill Tilter" (possibly named after the famous Chicago jazz club) and never lets up. "Green Mill Titler" slides into a groove led by Wiik and Haker-Flaten and some battling between horns and drums. And then all-stop. We are then treated to probably the most melody friendly track of the proceedings "Andersonville" which sees Fredrik Ljungkvist leading the way on clarinet. This is a wonder piece with nice balance of free jazz and almost classical themes. It's a tasty piece of work and also the longest track over both discs. "Bop About" (originally featured on the bands third album The Bikini Tapes) closes the first disc sheer tour de force for all the members and definitely in the Ornette Coleman, Archie Shepp realm of frenzied rhythms and patterns. A perfect way to end the side one.

One of my favourite Atomic tracks that I could listen to everyday opens disc two, "Roma" (which also opens the band forth album Happy New Years) is blistering six minute piece that shows each member adding fuel to an already rampant fire of an evening. Wiik's forceful movement on piano are countered by Nilssen-Loves pulsating cacophony on drums. Broo and Ljungkvist add some scintilating treatments to make these a white noise affair but one that you will fall in love with quickly. Things between to calm down a bit with "Snguine" and "Edit" as Broo takes a more of the lead with some beautiful coloring reminiscent of Enirco Rava. These two tracks bristle with freedom and romanticism all the while holding a creative European edge.

Theater Tilters finally closes with the perfect example of the bands freedom and individuality "Two Boxes". "Two Boxes" features some fantastic interplay that really does go "out there" and back. Killer stuff from Ljungkvist, Haker-Flaten and Wiik with the rest of band closing in like climax of a horror movie.

Now as with The Vandermark 5, The Thing and Supersilent, Atomic are not for the faint at heart. This is an attack on the senses but the melody is there once you let the sounds envelope you. Theater Tilters is just another in the amazing cannon of one Europe's finest jazz groups. This is not my first choice for the Atomic uninitiated but if you want adventure in your music--Atomic is a great band to start with. Enjoy...

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.

Guitar Week: Trio Schmetterling

This week JazzWrap will take a look at guitarists and guitar driven groups that have or will be making a difference in jazz.

Trio Schmetterling (group; fromed 2007)
Keisuke Matsuno (guitar/electronics)
Alexander Binder (bass)
Jan Roth (drums)

As discussed recently, the rise of trios on the jazz scene is quite simply--mindnumbing. It's is sometimes difficult to sift through all the good ideas being produced to find the originality. Well, I have to say in the case of the following trio there is something different for you grab hold of. Trio Schmetterling is a guitar based trio that utilizes both the sonic aspects of Glenn Branca, Sonic Youth and the best elements of recent Nordic jazz improvisers like Nils Petter Molvaer, The Thing, Supersilent, et al. Not clearly defined (which is something we at JazzWrap like allot).

The self titled debut, Trio Schmetterling (Analogsoul Records), opens with "Solaris", a dreamy and rhythmic piece that reminds me of Slowdive or My Bloody Valentine (circa Loveless). The albums is filled with mid tempo motifs that abstract yet enveloping. If anyone remembers the late 80s/90s instrumental band Pell Mell this is slightly (only slightly) similar. Further tracks like "Insel" and "Abschiedslied" contain some great drum work from Jan Roth and some nice bluesy interplay between Matsuno and Binder making for some highly enjoyable variations.


Trio Schmetterling never really take flight as you would expect from a guitar based trio. But I don't think that is their intention. This is an album of dark dense space with strong melodies pushing the listener forward. "Kinderlied" does finally take the band into some atmospheric territory taking a gentle tone in its beginning before venturing into a lovely harmonic chaos of arpeggios to close things out. Trio Schmetterling may not be a jazz band for some of you but they surely aren't a rock band for me. This is the work of a young band in progress but the progress is quite impressive.