Adios review: Kulturni magazin

Wow, the Wheel is treading! Despite all the strange attributes of noise, flight, improvisation, etc. it all comes together in a hellishly shaped sense! The wheel = wheel. Martin Archer prepared it nicely for us. Perhaps he will never get involved in the publishing deeds of his Discus Music. Whether he releases unique recordings by Keith Tippett, the impro-varied multi-ensemble Orchestra of the Upper Atmosphere (Theta One to the recent Theta Five) or Das Rad, where Archer ubiquitously works with saxophones, synths with bass and keyboards. Two years after the debut of this duo, Nick Robinson’s psychedelic, thick-colored guitar really calls the saga an order of magnitude even more!

The improvisational trio from Sheffield works on an electro-freejazz basis. This is most evident in the twelve-minute introductory Inside Reverse, in which the layered / interleaved / rises / interweaves of the motif lines of various guitars (pure and broken effects) and saxophones (as well) with additional keyboards and sampled noises. Everything is hypnotically held at first by the almost imperceptible, sneering, coloring drums of Steve Dinsdale, but in the thickened instrumental gradation of the composition, they start the rhythm like a hellish machine. He will start in the subsequent Buzz Line without introductory phrases.

Which is an oak-jazz affair, where the bike steps on one riff under beautiful saxophone plays, urgent, intricately refined, it forces itself to sway in rhythm, at the same time to fly in fantasy. But you won’t have time to take off, because it will end soon and Deuce of Gears makes you think of the space between “pleasant” notes and noise. The title Adios Al Futuro is then with looped echoes of the electric piano, a chopped guitar and an ethereal baritone saxophone connecting these two musical poles previously introduced – harmonious playfulness to simple imagination versus flight in all directions into the complete noise unknown. Oslo Star then goes on a guitar hypno trip à la Fripp and Tiefes Blau closes the whole thing, in unexpected improvisational variations of instruments and chords. No template, construct, but permanent tension.