Brandon Seabrook: Object of Unknown Function

Brandon Seabrook's Object of Unknown Function feels like a sonic experiment gone rogue. In this album, Seabrook seems motivated by a desire to explore the liminal spaces between structured chaos and unstructured order, leaving listeners caught in the crosshairs. His fascination with avant- garde sounds, a hallmark of his work, reaches new heights here. One could argue that the album serves as an ode to the unpredictability of sound itself, challenging the listener to discard any preconceived notions of musical form. It is as though Seabrook is saying, "Why should music behave when the world does not?" The answer, it seems, is that it should not—and he makes a compelling case.

In the marketing one-sheet, Seabrook describes attaching contact microphones to his legs, throat, and chest as well as to the bodies of his instruments. "A lot of my playing has to do with full engagement of the instrument body and my body," he notes. Through this approach, Seabrook imparts an idiosyncratic and sophisticated mode of operations to steer his output.

The title track exemplifies Seabrook's unique approach to composition and performance. The piece unfolds as a frenetic exploration of sound, featuring Seabrook on an array of instruments. It opens with an off-centered bluegrass banjo riff played on a vintage instrument before incorporating bowed tenor banjo and spectral effects. The cassette recordings used in the accompaniment create additional textural depth. The track is characterized by complex multilayered arrangements delivered at mid-tempo speed, creating a sense of controlled chaos that proves both exhilarating and dizzying. "Unbalanced Love Portfolio" follows as a stoic banjo piece, meticulously constructed with angular mini-motifs and punctuated by strategic stops and starts that highlight the composition's architectural precision.

Seabrook's inventiveness reaches its apex on "Gondola Freak," a masterful symphony of acoustic and electric guitars. The music shifts between intense dramatics and moments of surprising melody, all achieved through his carefully overlaid tracks. While firmly avant-garde, Seabrook provides discernible themes throughout, demonstrating his technical precision while making calculated deviations that push the boundaries of traditional jazz and experimental music. On "Some Recanted Evening," he employs a Neptune twelve-string guitar to create an Americana-tinged foundation, which he then destabilizes through rapid-fire chord changes and linear phrases. Abrasive electronic textures further disrupt expectations, ultimately sending the piece crashing into oceanic depths.

Despite its complexity, "Object of Unknown Function" maintains an element of playfulness and variety that prevents it from becoming overwhelming. Seabrook's ability to balance these contrasting elements demonstrates his mastery as both musician and composer. Each track illustrates his bold vision and commitment to exploring new musical territories, executed with his signature virtuosity.

In conclusion, Object of Unknown Function feels less like a musical journey and more like an invitation to a madcap obstacle course. Win or lose, the thrill is undeniable. Seabrook has crafted a soundscape that is equally bewildering and enlivening. However, structure exists as a suggestion rather than a rule. After all, who says everything needs a function? Sometimes, the unknown is far more interesting.

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