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The premise for this electronics-based engagement is not steeped in customary backdrops, such as phantasmagorical space travel or existential musings of a divine entity. Conversely, the foundation for this trio's excursion relates to morphing DNA code-sequencing into music. The DNA modeled here emanates from the protein of the rainbow trout and is transformed into MIDI language, featuring 642 notes amid real-time music frameworks.
DNA is elevated into a mesmeric showcase, where Frederick Soegaard intermixes psycho-rock guitar with the MIDIgenemap and TC FireworX software to complement his band mates' use of computers, electronics and percussion. With sweeping sounds, and oscillating single note implementations, the trio poses a transient musical environment, starkly different from old school type computer-generated beeps and blips. Hence, the program surges onward, akin to an evolving plot, via recoiling passages and briskly rendered effects processing. At times, the music seemingly mirrors a complex DNA encoding process, shaded by Henrik Strandfelt's polytonal mallets and bells treatments.
Strandelt alters the impetus during his extended solo spot on "Polymetrix II," as he zigzags his pace using electronic drum patterns, bells, cymbals and other instruments. He elicits a semi-classical vibe as well, and in other regions of the program, the trio churns out ambient and pastoral vistas to consummate a series of captivating harmonic developments.
"What will they think of next," some might say. Well, these gents are definitely working on a vast plane that offers a contrasting mindset towards scientific applications. However, it's the often-striking musical force on Soundmapping The Genes that translates into an indubitably persuasive listening experience.
Track Listing: Song Of The Rainbow Trout II; Historic Hysteria II; Codereversion II; Polymetrix II; Polymetrix I; Codefragment Solo II; Song Of The Rainbow Trout I; Codemess; Codefragment Solo I; Codereversion I; Histonic Hysteria I.
Personnel: Fredrik Soegaard: guitars, MIDIgenemap, TC FireworX; Claus Gahrn: laptop, MIDIgenemap; Henrik Strandfelt: gongs, gamelan, cymbals, mbiras, electronics.
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.