James Mainwaring / Dave Kane / Emil Karlsen: The Exu

The Exu, a lean and volatile threesome, makes a forceful first impression on its self-titled debut. Composed of Leeds-based pairing of tenor saxophonist James Mainwaring (best known for his tenure in the Mercury Prize-nominated Roller Trio) and Irish bassist Dave Kane (a longtime collaborator of Paul Dunmall and Matthew Bourne), alongside British-domiciled Norwegian drummer Emil Karlsen, the group draws from improv, metal, hip-hop, and jazz. Across a dozen tightly coiled pieces— five by Kane, three by Mainwaring, and four group creations—the band carves out a sound both bracing and purposeful.

With only one cut in the 42-minute program touching the five-minute mark, the album moves with the urgency of live date. Blunt, recurring motifs form its rhythmic backbone, but the trio avoids monotony by mixing up the structures, so sometimes the head bookends the improvisation, then at others it comes only after an extended ramp up, or just once supplying the final stamp. But while they drill insistently into your brain, they also serve as generous building blocks for subsequent stretching out. And of course, the collective inventions widen the range further still.

Mainwaring's tenor saxophone is the most prominent voice, his sound rooted in a grainy expressiveness. He tempers a raw edge with moments of lyrical warmth, often filtered through an arsenal of modern techniques: multiphonics, plosives, smears. Kane and Karlsen remain grounded in their instruments' conventional roles even in the off-the-wall sections, but bring a flexibility forged in less fettered contexts. Kane anchors the music with unhurried vamps, extemporized grooves, and even the occasional walking, while Karlsen's drumming shifts from jagged propulsion to delicate texture, often within a single cut.

The two dedications are brief and pointed. "Kurt (for Kurt Cobain)" opens with a thundering pulse and keening sax riff, launching Mainwaring into a barrage of overtones and upper-register shrieks. "Berne It Up (for Tim Berne)" opens at a slant, its saxophone lines drifting over taut pizzicato and clacky percussion before solidifying into a fierce churn. Elsewhere, the opening "Riddle Me This" sets the tone with a wailing intro and locked-in energy, while "B4B" offers space and restraint, and "In That Case" leans toward unexpected tenderness and reflection.

Throughout The Exu, the trio waxes both deliberate and uncontainable. It's a debut that stakes its claim through tension and clarity, marking the outfit as one to watch in the less straight-laced corners of the scene.

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