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Next To Silence at the Skopje Jazz Festival
Courtesy Maja Argakijeva
Next to Silence
MKC
Skopje Jazz Festival
Skopje, Macedonia
October 17, 2024
Concert lineups are always a bit of a gamble. You show up for the main act, hoping the rest of the bill will hold your interest. When it works, it's unforgettable; when it doesn't, it's a long night. Next to Silence, however, made sure there were no dull moments, giving jazz a fresh, inventive twist. With a mix of rock-like intensity, free jazz spontaneity, and indie catchiness, the band showcased their latest evolution in sound while promoting their new album, Ruh.
The band took the stage not only to perform but to celebrate saxophonist Kiril Kuzmanov, who had just received the festival's Best Young Macedonian Jazz Musician award. With a reputation as "one of the most active figures on the Macedonian jazz scene," Kuzmanov was at the heart of the performance, embodying the very spirit of jazz through his inventive, soul-stirring sound.
The concert opened with "Saukko," a powerful, high-energy piece that shattered any expectations of a slow buildup. Propelled by Goce Naumov's idiosyncratic drumming, the track immediately grabbed hold of the audience, setting a tone of intensity and rhythmic complexity that would define the evening. Naumov's playing brought an intricate pulse to the music, pushing the band to dive into an edgy, high-stakes interplay. His dynamic drumming served as both anchor and springboard, grounding the group while allowing Kuzmanov and the rest to explore the edges of their improvisational range.
With this energetic start, Next to Silence showed their knack for turning individual virtuosity into a tightly woven collective expression. Kuzmanov's saxophone darted and weaved over Naumov's rhythms, and Dimishovski's keyboards added depth, drawing the audience further into the band's sonic landscape. This was no gentle introduction—it was an immediate invitation into the heart of the band's creative energy.
Tracks from their latest album, Ruh, followed, with "Arcana" and "Hannya" serving as standout moments. The pieces highlighted the band's mastery over balance—moving fluidly from simplicity to intricate improvisation without losing cohesion. The guitarist's solos exemplified this approach, favoring elegance over extravagance. His understated expressiveness worked in perfect harmony with Kuzmanov's saxophone, which soared and explored with an almost palpable sense of freedom. As each piece unfolded, the musicians revealed not only their technical prowess but also their ability to elevate individual virtuosity into a coherent, powerful collective sound.
Midway through the set, audience favorites "Pokratkovka" and "Harmattan" made an appearance. These tracks carried a unique rhythmic intensity, with each musician contributing to the dynamic interplay that has become a hallmark of Next to Silence's live performances. The communication between the band members felt almost telepathic, creating a pulse that kept the audience riveted, fully absorbed in each rhythmic twist and harmonic turn.
For the encore, Next to Silence returned with "Ushabti" Here, Kuzmanov's sax took on a soft, contemplative tone reminiscent of Jan Garbarek, and the band embraced a spacious, minimalist approach that filled the room with a quiet, reflective energy. This moment of stillness gave the audience a chance to catch their breath, allowing them to feel the depth and subtlety of the band's musicality. It was a fitting end, a reminder of the band's ability to shift from introspection to celebration without missing a beat. There were no elaborate visuals or theatrics—just pure, immersive music that held the crowd's attention from start to finish. Blending ethereal soundscapes inspired by ECM Records with the adventurous spirit of 1970s jazz fusion, Next to Silence is clearly a band in a state of creative expansion.
MKC
Skopje Jazz Festival
Skopje, Macedonia
October 17, 2024
Concert lineups are always a bit of a gamble. You show up for the main act, hoping the rest of the bill will hold your interest. When it works, it's unforgettable; when it doesn't, it's a long night. Next to Silence, however, made sure there were no dull moments, giving jazz a fresh, inventive twist. With a mix of rock-like intensity, free jazz spontaneity, and indie catchiness, the band showcased their latest evolution in sound while promoting their new album, Ruh.
The band took the stage not only to perform but to celebrate saxophonist Kiril Kuzmanov, who had just received the festival's Best Young Macedonian Jazz Musician award. With a reputation as "one of the most active figures on the Macedonian jazz scene," Kuzmanov was at the heart of the performance, embodying the very spirit of jazz through his inventive, soul-stirring sound.
The concert opened with "Saukko," a powerful, high-energy piece that shattered any expectations of a slow buildup. Propelled by Goce Naumov's idiosyncratic drumming, the track immediately grabbed hold of the audience, setting a tone of intensity and rhythmic complexity that would define the evening. Naumov's playing brought an intricate pulse to the music, pushing the band to dive into an edgy, high-stakes interplay. His dynamic drumming served as both anchor and springboard, grounding the group while allowing Kuzmanov and the rest to explore the edges of their improvisational range.
With this energetic start, Next to Silence showed their knack for turning individual virtuosity into a tightly woven collective expression. Kuzmanov's saxophone darted and weaved over Naumov's rhythms, and Dimishovski's keyboards added depth, drawing the audience further into the band's sonic landscape. This was no gentle introduction—it was an immediate invitation into the heart of the band's creative energy.
Tracks from their latest album, Ruh, followed, with "Arcana" and "Hannya" serving as standout moments. The pieces highlighted the band's mastery over balance—moving fluidly from simplicity to intricate improvisation without losing cohesion. The guitarist's solos exemplified this approach, favoring elegance over extravagance. His understated expressiveness worked in perfect harmony with Kuzmanov's saxophone, which soared and explored with an almost palpable sense of freedom. As each piece unfolded, the musicians revealed not only their technical prowess but also their ability to elevate individual virtuosity into a coherent, powerful collective sound.
Midway through the set, audience favorites "Pokratkovka" and "Harmattan" made an appearance. These tracks carried a unique rhythmic intensity, with each musician contributing to the dynamic interplay that has become a hallmark of Next to Silence's live performances. The communication between the band members felt almost telepathic, creating a pulse that kept the audience riveted, fully absorbed in each rhythmic twist and harmonic turn.
For the encore, Next to Silence returned with "Ushabti" Here, Kuzmanov's sax took on a soft, contemplative tone reminiscent of Jan Garbarek, and the band embraced a spacious, minimalist approach that filled the room with a quiet, reflective energy. This moment of stillness gave the audience a chance to catch their breath, allowing them to feel the depth and subtlety of the band's musicality. It was a fitting end, a reminder of the band's ability to shift from introspection to celebration without missing a beat. There were no elaborate visuals or theatrics—just pure, immersive music that held the crowd's attention from start to finish. Blending ethereal soundscapes inspired by ECM Records with the adventurous spirit of 1970s jazz fusion, Next to Silence is clearly a band in a state of creative expansion.
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