Oren Ambarchi, Johan Berthling, Andreas Werliin
Ghosted II
Boomkat Product Review:
Oren Ambarchi and his collaborators return for a second 'Ghosted' set, suspending the first album's rugged Krautrock-jazz pulse in shimmering washes of unstable, celestial harmony. Sublime!
Playing regularly together for over two decades, Ambarchi and Johan Berthling have ironed out their creases, devising an almost psychic ability to create magic out of the most bare ingredients. If the first 'Ghosted' album was a chance for the two - alongside Berthling's Fire! Orchestra compatriot Andreas Werliin who handles percussion - to re-draw a psych-minimalist take on jazz, 'Ghosted II' polishes the sound to a dazzling shine, removing some of the chug and replacing it with crystalline, transcendent beauty.
The album's lengthy centrepiece 'två' is its most restrained meditation; Ambarchi coaxes phased, almost new age textures from his guitar, and Berthling plays soothing harmonics, while Werliin replies with a skeletal patter, brushing hollow pats to hit against a similar mood (the root is still jazz, no doubt) but shift it into a different dimension. Steve Reich's lifted repetition is there in the background, and the trio assemble a surprisingly subdued cogitation, letting the piece swirl from side to side, rather than build and release.
Even 'tre', emphasising the band's rhythm section more broadly with a walking bassline and percussive snap, is lifted into the clouds by Ambarchi's vertiginous tonal flicks, this time skipping between the rhythm and dancing delicately until it turns into satisfying, Dorothy Ashby-style flourishes. Although 'en' is faster and more sharply angled, the trio hold back, letting the momentum simmer rather than boil over, propelling the psychedelic throbs into a liminal space instead of beating us over the head with technique.
The album's closer, the cinematic 'fyra', is a diaphanous sparkle of achingly beautiful Reichian repetitions and cautiously complex, Talk Talk-ish drums, anchored by Berthling's slow, purposeful basslines. It works as the perfect wind down and is the album's most self-consciously florid moment, stressing the euphoria that's been poaching in the background the whole time. Ambarchi plays quivering, almost slide guitar-like patterns, and the track slips into elevated, weightless ambience. It's remarkable stuff.
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Boomkat Product Review:
Oren Ambarchi and his collaborators return for a second 'Ghosted' set, suspending the first album's rugged Krautrock-jazz pulse in shimmering washes of unstable, celestial harmony. Sublime!
Playing regularly together for over two decades, Ambarchi and Johan Berthling have ironed out their creases, devising an almost psychic ability to create magic out of the most bare ingredients. If the first 'Ghosted' album was a chance for the two - alongside Berthling's Fire! Orchestra compatriot Andreas Werliin who handles percussion - to re-draw a psych-minimalist take on jazz, 'Ghosted II' polishes the sound to a dazzling shine, removing some of the chug and replacing it with crystalline, transcendent beauty.
The album's lengthy centrepiece 'två' is its most restrained meditation; Ambarchi coaxes phased, almost new age textures from his guitar, and Berthling plays soothing harmonics, while Werliin replies with a skeletal patter, brushing hollow pats to hit against a similar mood (the root is still jazz, no doubt) but shift it into a different dimension. Steve Reich's lifted repetition is there in the background, and the trio assemble a surprisingly subdued cogitation, letting the piece swirl from side to side, rather than build and release.
Even 'tre', emphasising the band's rhythm section more broadly with a walking bassline and percussive snap, is lifted into the clouds by Ambarchi's vertiginous tonal flicks, this time skipping between the rhythm and dancing delicately until it turns into satisfying, Dorothy Ashby-style flourishes. Although 'en' is faster and more sharply angled, the trio hold back, letting the momentum simmer rather than boil over, propelling the psychedelic throbs into a liminal space instead of beating us over the head with technique.
The album's closer, the cinematic 'fyra', is a diaphanous sparkle of achingly beautiful Reichian repetitions and cautiously complex, Talk Talk-ish drums, anchored by Berthling's slow, purposeful basslines. It works as the perfect wind down and is the album's most self-consciously florid moment, stressing the euphoria that's been poaching in the background the whole time. Ambarchi plays quivering, almost slide guitar-like patterns, and the track slips into elevated, weightless ambience. It's remarkable stuff.
Boomkat Product Review:
Oren Ambarchi and his collaborators return for a second 'Ghosted' set, suspending the first album's rugged Krautrock-jazz pulse in shimmering washes of unstable, celestial harmony. Sublime!
Playing regularly together for over two decades, Ambarchi and Johan Berthling have ironed out their creases, devising an almost psychic ability to create magic out of the most bare ingredients. If the first 'Ghosted' album was a chance for the two - alongside Berthling's Fire! Orchestra compatriot Andreas Werliin who handles percussion - to re-draw a psych-minimalist take on jazz, 'Ghosted II' polishes the sound to a dazzling shine, removing some of the chug and replacing it with crystalline, transcendent beauty.
The album's lengthy centrepiece 'två' is its most restrained meditation; Ambarchi coaxes phased, almost new age textures from his guitar, and Berthling plays soothing harmonics, while Werliin replies with a skeletal patter, brushing hollow pats to hit against a similar mood (the root is still jazz, no doubt) but shift it into a different dimension. Steve Reich's lifted repetition is there in the background, and the trio assemble a surprisingly subdued cogitation, letting the piece swirl from side to side, rather than build and release.
Even 'tre', emphasising the band's rhythm section more broadly with a walking bassline and percussive snap, is lifted into the clouds by Ambarchi's vertiginous tonal flicks, this time skipping between the rhythm and dancing delicately until it turns into satisfying, Dorothy Ashby-style flourishes. Although 'en' is faster and more sharply angled, the trio hold back, letting the momentum simmer rather than boil over, propelling the psychedelic throbs into a liminal space instead of beating us over the head with technique.
The album's closer, the cinematic 'fyra', is a diaphanous sparkle of achingly beautiful Reichian repetitions and cautiously complex, Talk Talk-ish drums, anchored by Berthling's slow, purposeful basslines. It works as the perfect wind down and is the album's most self-consciously florid moment, stressing the euphoria that's been poaching in the background the whole time. Ambarchi plays quivering, almost slide guitar-like patterns, and the track slips into elevated, weightless ambience. It's remarkable stuff.
Boomkat Product Review:
Oren Ambarchi and his collaborators return for a second 'Ghosted' set, suspending the first album's rugged Krautrock-jazz pulse in shimmering washes of unstable, celestial harmony. Sublime!
Playing regularly together for over two decades, Ambarchi and Johan Berthling have ironed out their creases, devising an almost psychic ability to create magic out of the most bare ingredients. If the first 'Ghosted' album was a chance for the two - alongside Berthling's Fire! Orchestra compatriot Andreas Werliin who handles percussion - to re-draw a psych-minimalist take on jazz, 'Ghosted II' polishes the sound to a dazzling shine, removing some of the chug and replacing it with crystalline, transcendent beauty.
The album's lengthy centrepiece 'två' is its most restrained meditation; Ambarchi coaxes phased, almost new age textures from his guitar, and Berthling plays soothing harmonics, while Werliin replies with a skeletal patter, brushing hollow pats to hit against a similar mood (the root is still jazz, no doubt) but shift it into a different dimension. Steve Reich's lifted repetition is there in the background, and the trio assemble a surprisingly subdued cogitation, letting the piece swirl from side to side, rather than build and release.
Even 'tre', emphasising the band's rhythm section more broadly with a walking bassline and percussive snap, is lifted into the clouds by Ambarchi's vertiginous tonal flicks, this time skipping between the rhythm and dancing delicately until it turns into satisfying, Dorothy Ashby-style flourishes. Although 'en' is faster and more sharply angled, the trio hold back, letting the momentum simmer rather than boil over, propelling the psychedelic throbs into a liminal space instead of beating us over the head with technique.
The album's closer, the cinematic 'fyra', is a diaphanous sparkle of achingly beautiful Reichian repetitions and cautiously complex, Talk Talk-ish drums, anchored by Berthling's slow, purposeful basslines. It works as the perfect wind down and is the album's most self-consciously florid moment, stressing the euphoria that's been poaching in the background the whole time. Ambarchi plays quivering, almost slide guitar-like patterns, and the track slips into elevated, weightless ambience. It's remarkable stuff.
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Boomkat Product Review:
Oren Ambarchi and his collaborators return for a second 'Ghosted' set, suspending the first album's rugged Krautrock-jazz pulse in shimmering washes of unstable, celestial harmony. Sublime!
Playing regularly together for over two decades, Ambarchi and Johan Berthling have ironed out their creases, devising an almost psychic ability to create magic out of the most bare ingredients. If the first 'Ghosted' album was a chance for the two - alongside Berthling's Fire! Orchestra compatriot Andreas Werliin who handles percussion - to re-draw a psych-minimalist take on jazz, 'Ghosted II' polishes the sound to a dazzling shine, removing some of the chug and replacing it with crystalline, transcendent beauty.
The album's lengthy centrepiece 'två' is its most restrained meditation; Ambarchi coaxes phased, almost new age textures from his guitar, and Berthling plays soothing harmonics, while Werliin replies with a skeletal patter, brushing hollow pats to hit against a similar mood (the root is still jazz, no doubt) but shift it into a different dimension. Steve Reich's lifted repetition is there in the background, and the trio assemble a surprisingly subdued cogitation, letting the piece swirl from side to side, rather than build and release.
Even 'tre', emphasising the band's rhythm section more broadly with a walking bassline and percussive snap, is lifted into the clouds by Ambarchi's vertiginous tonal flicks, this time skipping between the rhythm and dancing delicately until it turns into satisfying, Dorothy Ashby-style flourishes. Although 'en' is faster and more sharply angled, the trio hold back, letting the momentum simmer rather than boil over, propelling the psychedelic throbs into a liminal space instead of beating us over the head with technique.
The album's closer, the cinematic 'fyra', is a diaphanous sparkle of achingly beautiful Reichian repetitions and cautiously complex, Talk Talk-ish drums, anchored by Berthling's slow, purposeful basslines. It works as the perfect wind down and is the album's most self-consciously florid moment, stressing the euphoria that's been poaching in the background the whole time. Ambarchi plays quivering, almost slide guitar-like patterns, and the track slips into elevated, weightless ambience. It's remarkable stuff.
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