Bang / Duch / Honoré / Toop / Wastell
Wunderkammer
Proper, zoned-out and dreadfully quiet free-jazz drone psychonavigations revolving around sound objets played by David Toop amid a bush of spectres including Erik Honoré and Jan Bang ov Punkt, helmed by Confront maven Mark Wastell on gongs and sticks.
Recorded in Kristiansand, Norway, 2023, ‘Wunderkammer’ is haunted by the 2014 voice recordings of Nils Christian Moe-Repstad (1972-2022), who previously collaborated with Norwegian jazz supremos Honoré & Bang (2/3rds of Punkt, with Arve Henriksen) on David Sylvian’s Samadhisound. Offered in tribute to Moe-Repstad, the singular 38’ tract is defined by a darkly poetic, sublime tension as the quintet players meet in a furrowed, ruminative headspace of electro-acoustic free jazz minimalism.
An introductory passage of theatric mise-en-scene lights the way for quietly spectral gestures to flicker from the recording’s evocation of vast negative space, notably resting the plays of Toop’s gently activated objects, Bang’s slanted synth sphere, and Wastell’s metallic shimmers on a bed of exquisitely slow moving bass supplied by Michael Francis Duch. Impressions of Korean classical court music and ethnographic inference guide an elegantly unfolding logic as they proceed thru thickets of metallic strikes to poised chamber music poetry and ultimately lighten up in the latter third, before receding into drone atavism.
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180g white vinyl.
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Proper, zoned-out and dreadfully quiet free-jazz drone psychonavigations revolving around sound objets played by David Toop amid a bush of spectres including Erik Honoré and Jan Bang ov Punkt, helmed by Confront maven Mark Wastell on gongs and sticks.
Recorded in Kristiansand, Norway, 2023, ‘Wunderkammer’ is haunted by the 2014 voice recordings of Nils Christian Moe-Repstad (1972-2022), who previously collaborated with Norwegian jazz supremos Honoré & Bang (2/3rds of Punkt, with Arve Henriksen) on David Sylvian’s Samadhisound. Offered in tribute to Moe-Repstad, the singular 38’ tract is defined by a darkly poetic, sublime tension as the quintet players meet in a furrowed, ruminative headspace of electro-acoustic free jazz minimalism.
An introductory passage of theatric mise-en-scene lights the way for quietly spectral gestures to flicker from the recording’s evocation of vast negative space, notably resting the plays of Toop’s gently activated objects, Bang’s slanted synth sphere, and Wastell’s metallic shimmers on a bed of exquisitely slow moving bass supplied by Michael Francis Duch. Impressions of Korean classical court music and ethnographic inference guide an elegantly unfolding logic as they proceed thru thickets of metallic strikes to poised chamber music poetry and ultimately lighten up in the latter third, before receding into drone atavism.