WEIRD TURN PRO - Let Me Be Unwound
Self-released
Mike Effenberger; keyboards; Rob Gerry: bass; Mike Walsh: drums; Matt Langley: reeds; Chris Gagne: trombone; Chris Klaxton: trumpet
The odd name for the band is inspired by the writings of Hunter S Thompson and, like him, they relish the mix of chaos and process. The ‘process’ comes from the approach to composition that Effenberger employs. For example, the opening track, ‘It’ll be over soon’, has an undulating piano ostinato over horns that ebb and flow, and the piece imperceptibly builds to its crashing finale. The liner notes point to Effenberger’s combination of jazz, classical and minimalism, and I can certainly understand this. I don’t usually like drawing comparisons with other artists in my reviews, but there is such a strong sense of the mix of Impressionism and urban sounds here that remind me of the music of Moondog that I feel this is worth stating. Where Effenberger’s approach differs is in the way that he is content to take a single theme and repeat it throughout the piece in a rumbling, drone-like backing. I listened to this opening track half a dozen times on repeat before moving on the other tracks. It is so richly rewarding and so densely and intricately worked that it repaid these (and subsequent) listens.
The ‘chaos’ comes from the way that, over the pulsing backing, different combinations of instruments arrive and leave as the pieces develop, sometimes working the same simple riffs and other times improvising variations. Even in the spaces where themes are introduced, such as the way the ensemble in track 2 ‘Finlandia’ quote Sibelius tone-poem of the same name, other instruments offer commentary or agreement in the way they repeat or rework notes and phrases. This piece ends with some rolling and crashing percussion that picks up on the backing and drives the piece on. This percussive attack is continued in track 3, ‘Nor be dismayed’ (possibly quoting the lines from Ezekial “Be not afraid of their words, nor be dismayed at their looks, for they are a rebellious”).
While there is some great avant-garde ensemble playing here, and the compositions really give the musicians room to work their own sounds, I was equally impressed by Effenberger’s calm, nuanced piano playing which draws the listeners attention even when the other musicians are at various tangents. This is definitely music that I’ll keep listening to and will be looking out for Effenberger in the future.
Reviewed by Chris Baber
Self-released
Mike Effenberger; keyboards; Rob Gerry: bass; Mike Walsh: drums; Matt Langley: reeds; Chris Gagne: trombone; Chris Klaxton: trumpet
The odd name for the band is inspired by the writings of Hunter S Thompson and, like him, they relish the mix of chaos and process. The ‘process’ comes from the approach to composition that Effenberger employs. For example, the opening track, ‘It’ll be over soon’, has an undulating piano ostinato over horns that ebb and flow, and the piece imperceptibly builds to its crashing finale. The liner notes point to Effenberger’s combination of jazz, classical and minimalism, and I can certainly understand this. I don’t usually like drawing comparisons with other artists in my reviews, but there is such a strong sense of the mix of Impressionism and urban sounds here that remind me of the music of Moondog that I feel this is worth stating. Where Effenberger’s approach differs is in the way that he is content to take a single theme and repeat it throughout the piece in a rumbling, drone-like backing. I listened to this opening track half a dozen times on repeat before moving on the other tracks. It is so richly rewarding and so densely and intricately worked that it repaid these (and subsequent) listens.
The ‘chaos’ comes from the way that, over the pulsing backing, different combinations of instruments arrive and leave as the pieces develop, sometimes working the same simple riffs and other times improvising variations. Even in the spaces where themes are introduced, such as the way the ensemble in track 2 ‘Finlandia’ quote Sibelius tone-poem of the same name, other instruments offer commentary or agreement in the way they repeat or rework notes and phrases. This piece ends with some rolling and crashing percussion that picks up on the backing and drives the piece on. This percussive attack is continued in track 3, ‘Nor be dismayed’ (possibly quoting the lines from Ezekial “Be not afraid of their words, nor be dismayed at their looks, for they are a rebellious”).
While there is some great avant-garde ensemble playing here, and the compositions really give the musicians room to work their own sounds, I was equally impressed by Effenberger’s calm, nuanced piano playing which draws the listeners attention even when the other musicians are at various tangents. This is definitely music that I’ll keep listening to and will be looking out for Effenberger in the future.
Reviewed by Chris Baber
