Albatre is a Pan-European trio based in Rotterdam, comprised of two Portuguese living in this cityalto saxophonist Hugo Costa and bassist Gonçalo Almeida, member of the Portuguese Lama Triojoined by German drummer Philipp Ernsting. The trio's debut offers its schizoid vision of free jazz on metal and punk steroids with electronic sonic neurosis. Albatre's aesthetics stick to a thick, distorted stew of fast beats, sudden mood shifts, frantic drumming, and urgent, brutal sax and bass outbursts. Surprisingly enough this explosive, noisy mix is executed in total command, at times even with humor.
It is redundant to reference this trio magma of sounds to like-minded, non-conformist and powerful outfits as the Scandinavian The Thing, Ken Vandermark's Fire Room (with Lasse Marhaug and Paal Nilssen-Love), Japanese, guitarist Keiji Haino's Fushitsusha or even the Dutch The Ex. But Albatre has developed its unique sound, nuanced, searching interplay with a persistent attempt to push its sonic envelope with electronic effects and loops.
From the first second of the opening "Nautilus" it is clear that it is futile to resist to Albatre's dense mix of sounds. The trio floods you with its heavy, nervous interplay, locked in an addictive rhythm that keeps pushing Costa and Almeida. The wild, frantic "Maelstrom" is a joyful storm of noises that almost obscures heavy, repetitive drumming, muscular bass riffs and tortured sax shrieks. "Aphoric zone" reveals that Albatre palette of sounds is more colorful and now the trio builds patiently a detailed and intense texture of distant, resonant bass guitar lines, passionate sax playing, fractured pulses augmented by walls of noises until all collapse beautifully into a chaotic abyss of sounds. "Vampyroteuthis Infernalis" is another, uncompromising, climatic onslaught, that revolves around infectious , heavy rhythms, disturbed only with metallic noises. Albatre surprises with the last piece "Albatrossia" that introduces a leisured beat, almost relaxed reggae pulse, but soon pours it with torrents of distorted, effects laden bass and sax noises.
Albatre debut suggests a gratifying, sonic catharsis to the modern busy and restless life.
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds. I love how jazz can involve musicians who may have never met each other can coming together and making incredible music by referring to the Great American Songbook and musicians who have been playing together for years, who have a deep connection and who explore and create original music that is at the cutting edge of musical innovation in every sense. Performing jazz music requires a virtuosity and technique that only strict discipline can teach as well as a spontaneity and playfulness that reflects the simple folk roots of the music.
I was first exposed to jazz as a student in college. Only knowing I wanted to play guitar, I enrolled in an applied music program that focused on Jazz rhythm section playing. The subsequent journey that I have been on since the time that I enrolled in that class has helped me grow not only as a musician but more so as a person.