THE NECKS
Travel
Boomkat Product Review:
The Necks regroup on a staggering first new LP in three years, switching between skittering jazz to widescreen rollers with a breathtaking momentum - somewhere between classic Verve label, MvO Trio, This Heat and Oren Ambarchi's ensemble jams.
The Necks’ Chris Abrahams (piano, Hammond organ), Tony Buck (drums, percussion, electric guitar) and Lloyd Swanton (bass guitar, double bass) re-ignite a mesmerising minimalism on ‘Travel’, taken from very lightly edited and overdubbed recordings of their daily 20 minute warm-up/improv practice sessions. Now in their 34th year playing together, the Aussie unit’s fine-honed intuitions are fully apparent across four durational parts totalling 77 minutes sprawling across seemingly endless soundscapes that collapse into myriad genres.
Perfectly framed and suspended with beautifully buoyant mixing and engineering by long time collaborator Tim Whitten, ‘Travel’ is a swaggering statement by the modern masters of long-form jams. The elements are knit with a particularly smoked-out verve and swingeing flex in each part, stretching from what sounds like MvO Trio haunted by Jackie Mittoo on the extraordinary ‘Signal’, to an uncanny, streamlined echo of Ndikho Xaba and the Natives’ South African free jazz on ‘Forming’, before resembling Can emulating Brazilian jazz on ‘Imprinting’, and arriving at the heart-in-mouth tempest of snare rolls, escalating organ vamps and roving low end that brings the LP to a thunderous climax like some extended Alice Coltrane breakdown that leaves u tossed in mid air.
Sounding as lean and potent as they did on 1989’s debut LP ‘Sex’, they’re frankly showing off here, with ‘Travel’ registering as good a place as any to kick off your infatuation with one of the world’s greatest experimental units.
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Boomkat Product Review:
The Necks regroup on a staggering first new LP in three years, switching between skittering jazz to widescreen rollers with a breathtaking momentum - somewhere between classic Verve label, MvO Trio, This Heat and Oren Ambarchi's ensemble jams.
The Necks’ Chris Abrahams (piano, Hammond organ), Tony Buck (drums, percussion, electric guitar) and Lloyd Swanton (bass guitar, double bass) re-ignite a mesmerising minimalism on ‘Travel’, taken from very lightly edited and overdubbed recordings of their daily 20 minute warm-up/improv practice sessions. Now in their 34th year playing together, the Aussie unit’s fine-honed intuitions are fully apparent across four durational parts totalling 77 minutes sprawling across seemingly endless soundscapes that collapse into myriad genres.
Perfectly framed and suspended with beautifully buoyant mixing and engineering by long time collaborator Tim Whitten, ‘Travel’ is a swaggering statement by the modern masters of long-form jams. The elements are knit with a particularly smoked-out verve and swingeing flex in each part, stretching from what sounds like MvO Trio haunted by Jackie Mittoo on the extraordinary ‘Signal’, to an uncanny, streamlined echo of Ndikho Xaba and the Natives’ South African free jazz on ‘Forming’, before resembling Can emulating Brazilian jazz on ‘Imprinting’, and arriving at the heart-in-mouth tempest of snare rolls, escalating organ vamps and roving low end that brings the LP to a thunderous climax like some extended Alice Coltrane breakdown that leaves u tossed in mid air.
Sounding as lean and potent as they did on 1989’s debut LP ‘Sex’, they’re frankly showing off here, with ‘Travel’ registering as good a place as any to kick off your infatuation with one of the world’s greatest experimental units.
Boomkat Product Review:
The Necks regroup on a staggering first new LP in three years, switching between skittering jazz to widescreen rollers with a breathtaking momentum - somewhere between classic Verve label, MvO Trio, This Heat and Oren Ambarchi's ensemble jams.
The Necks’ Chris Abrahams (piano, Hammond organ), Tony Buck (drums, percussion, electric guitar) and Lloyd Swanton (bass guitar, double bass) re-ignite a mesmerising minimalism on ‘Travel’, taken from very lightly edited and overdubbed recordings of their daily 20 minute warm-up/improv practice sessions. Now in their 34th year playing together, the Aussie unit’s fine-honed intuitions are fully apparent across four durational parts totalling 77 minutes sprawling across seemingly endless soundscapes that collapse into myriad genres.
Perfectly framed and suspended with beautifully buoyant mixing and engineering by long time collaborator Tim Whitten, ‘Travel’ is a swaggering statement by the modern masters of long-form jams. The elements are knit with a particularly smoked-out verve and swingeing flex in each part, stretching from what sounds like MvO Trio haunted by Jackie Mittoo on the extraordinary ‘Signal’, to an uncanny, streamlined echo of Ndikho Xaba and the Natives’ South African free jazz on ‘Forming’, before resembling Can emulating Brazilian jazz on ‘Imprinting’, and arriving at the heart-in-mouth tempest of snare rolls, escalating organ vamps and roving low end that brings the LP to a thunderous climax like some extended Alice Coltrane breakdown that leaves u tossed in mid air.
Sounding as lean and potent as they did on 1989’s debut LP ‘Sex’, they’re frankly showing off here, with ‘Travel’ registering as good a place as any to kick off your infatuation with one of the world’s greatest experimental units.
Boomkat Product Review:
The Necks regroup on a staggering first new LP in three years, switching between skittering jazz to widescreen rollers with a breathtaking momentum - somewhere between classic Verve label, MvO Trio, This Heat and Oren Ambarchi's ensemble jams.
The Necks’ Chris Abrahams (piano, Hammond organ), Tony Buck (drums, percussion, electric guitar) and Lloyd Swanton (bass guitar, double bass) re-ignite a mesmerising minimalism on ‘Travel’, taken from very lightly edited and overdubbed recordings of their daily 20 minute warm-up/improv practice sessions. Now in their 34th year playing together, the Aussie unit’s fine-honed intuitions are fully apparent across four durational parts totalling 77 minutes sprawling across seemingly endless soundscapes that collapse into myriad genres.
Perfectly framed and suspended with beautifully buoyant mixing and engineering by long time collaborator Tim Whitten, ‘Travel’ is a swaggering statement by the modern masters of long-form jams. The elements are knit with a particularly smoked-out verve and swingeing flex in each part, stretching from what sounds like MvO Trio haunted by Jackie Mittoo on the extraordinary ‘Signal’, to an uncanny, streamlined echo of Ndikho Xaba and the Natives’ South African free jazz on ‘Forming’, before resembling Can emulating Brazilian jazz on ‘Imprinting’, and arriving at the heart-in-mouth tempest of snare rolls, escalating organ vamps and roving low end that brings the LP to a thunderous climax like some extended Alice Coltrane breakdown that leaves u tossed in mid air.
Sounding as lean and potent as they did on 1989’s debut LP ‘Sex’, they’re frankly showing off here, with ‘Travel’ registering as good a place as any to kick off your infatuation with one of the world’s greatest experimental units.
Back in stock. Double LP housed in a gatefold jacket that features photography by Traianos Pakioufakis and mastering by Doug Henderson.
Out of Stock
Boomkat Product Review:
The Necks regroup on a staggering first new LP in three years, switching between skittering jazz to widescreen rollers with a breathtaking momentum - somewhere between classic Verve label, MvO Trio, This Heat and Oren Ambarchi's ensemble jams.
The Necks’ Chris Abrahams (piano, Hammond organ), Tony Buck (drums, percussion, electric guitar) and Lloyd Swanton (bass guitar, double bass) re-ignite a mesmerising minimalism on ‘Travel’, taken from very lightly edited and overdubbed recordings of their daily 20 minute warm-up/improv practice sessions. Now in their 34th year playing together, the Aussie unit’s fine-honed intuitions are fully apparent across four durational parts totalling 77 minutes sprawling across seemingly endless soundscapes that collapse into myriad genres.
Perfectly framed and suspended with beautifully buoyant mixing and engineering by long time collaborator Tim Whitten, ‘Travel’ is a swaggering statement by the modern masters of long-form jams. The elements are knit with a particularly smoked-out verve and swingeing flex in each part, stretching from what sounds like MvO Trio haunted by Jackie Mittoo on the extraordinary ‘Signal’, to an uncanny, streamlined echo of Ndikho Xaba and the Natives’ South African free jazz on ‘Forming’, before resembling Can emulating Brazilian jazz on ‘Imprinting’, and arriving at the heart-in-mouth tempest of snare rolls, escalating organ vamps and roving low end that brings the LP to a thunderous climax like some extended Alice Coltrane breakdown that leaves u tossed in mid air.
Sounding as lean and potent as they did on 1989’s debut LP ‘Sex’, they’re frankly showing off here, with ‘Travel’ registering as good a place as any to kick off your infatuation with one of the world’s greatest experimental units.
Back in stock. Digipak CD.
Out of Stock
Boomkat Product Review:
The Necks regroup on a staggering first new LP in three years, switching between skittering jazz to widescreen rollers with a breathtaking momentum - somewhere between classic Verve label, MvO Trio, This Heat and Oren Ambarchi's ensemble jams.
The Necks’ Chris Abrahams (piano, Hammond organ), Tony Buck (drums, percussion, electric guitar) and Lloyd Swanton (bass guitar, double bass) re-ignite a mesmerising minimalism on ‘Travel’, taken from very lightly edited and overdubbed recordings of their daily 20 minute warm-up/improv practice sessions. Now in their 34th year playing together, the Aussie unit’s fine-honed intuitions are fully apparent across four durational parts totalling 77 minutes sprawling across seemingly endless soundscapes that collapse into myriad genres.
Perfectly framed and suspended with beautifully buoyant mixing and engineering by long time collaborator Tim Whitten, ‘Travel’ is a swaggering statement by the modern masters of long-form jams. The elements are knit with a particularly smoked-out verve and swingeing flex in each part, stretching from what sounds like MvO Trio haunted by Jackie Mittoo on the extraordinary ‘Signal’, to an uncanny, streamlined echo of Ndikho Xaba and the Natives’ South African free jazz on ‘Forming’, before resembling Can emulating Brazilian jazz on ‘Imprinting’, and arriving at the heart-in-mouth tempest of snare rolls, escalating organ vamps and roving low end that brings the LP to a thunderous climax like some extended Alice Coltrane breakdown that leaves u tossed in mid air.
Sounding as lean and potent as they did on 1989’s debut LP ‘Sex’, they’re frankly showing off here, with ‘Travel’ registering as good a place as any to kick off your infatuation with one of the world’s greatest experimental units.
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