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Danish guitarist/MIDI mastermind Fredrik Soegaard teams with fellow countryman, guitarist, and pursuer of incidental effects Hasse Poulsen for this generally mind-numbing electronics gala. And don't be fooled by the causal or glib inferences transmitted by the album title, as the duo embarks upon a genesis to a bizarre state of being. With the electronic manipulations and acoustic/electric guitar parts, the musicians generate circular patterns while at times ringing up thoughts of a free-improv team on steroids.
Occasionally, Soegaard uses sustain-based riffs, much in the manner of King Crimson guitarist/founder Robert Fripp. But the artists also inject industrial sounds into these inner sanctum digressions, awash with reverberating synth swashes and harrowing background treatments. Perhaps the music would be a good backdrop for a documentary on splitting atoms or black hole stars. During one segment in particular, Poulsen's velvety acoustic guitar lines act as a contrast to reverse synth motifs where chaos and order attain a happy medium. Other highlights include sequences comprised of mystically inclined drones and other abstractions. Ultimately, the serious nature of the program is tempered by the musicians' uncanny sense of consistency and wittily organized flows. (Recommended.)
Track Listing: ....And We Also Caught A Fish
Personnel: Fredrik Soegaard: electric guitar, MIDI fractal, Eventide H3000; Hasse Poulsen: Guild Jumbo
guitar, occasionally prepared objects, sometimes used with effects.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.