Welcome to the further adventures of Bohren and his crew of axe carrying jazz deconstructionalists.
Another Bohren & Der Club of Gore classic seeps up from below, seeing its first vinyl reissue since the original 2002 pressing! Like its predecessor, Sunset Mission, the tone and feel of Black Earth is steeped in a smoky history of noirish soundtracks, European minimalism and the intensity of avant metal, all perfectly weighted for head-plunging midnight immersion.
It still beggars belief how they manage to play so slow without at least one of them nodding off during the session, which tends to be as effective as a xanax at those times when required. In their world everything operates at an opiated pace, with silvery solo piano, resonant double bass dabs and spectral voices seemingly curling off the wax into acres of negative space and taking your thoughts with them.
In terms of a sonic experience, basically everyone needs to undergo a Bohren album at least once in their life, and if you’ve never squinted into the distance of Sunset Mission or stared into the abyss of Black Earth, you genuinely don’t know quite what you’re missing out on.
Everything, as David Lynch would say, is never quite what it seems.
Bohren & Der Club of Gore's intense blend of heaving doom reductions and late night Badalemanti style midnight jazz has bought them a fanatical following in both the Avant-Metal and Jazz communities. Their sound really can be best visualised with reference to the 'Bang Bang' Bar in Twin Peaks, all sleaze, unease and glamour in the archetypal Lynchian sense.
The members of Bohren started out in various Hardcore outfits, but when the band formed in the early 90's they soon settled on a blend of Metal, Ambient and Jazz that confounded and confused most listeners. Almost two decades later and Bohren enjoy something akin to a secret members following, with the likes of Mike Patton being so into the band that they are now signed to his own Ipecac imprint in the states. 'Dolores' is their first album since 2005's 'Geisterfaust' and is their most beautifully realised album yet, oozing mystery and atmosphere with a more muted take on that super luxurious sound.
Opening track 'Staub' unfolds with a solitary mournful organ, eventually coupled with that unmistakable, spine-tingling Fender Rhodes played so ably by Christoph Clöser. The track continues with spacious, staggered percussion and Vibraharp, whirling through 8 minutes of mystery and wonder. At the other end of the album 'Welten' closes off proceedings with a monkish drone most suitable to a Sunn 0)) opening, before once again those shimmering keys create that kind of immeasurably addictive confusion between darkness and light that could be said to be Bohren's calling card.
'Dolores' is a stunning, mesmerising minute journey into that sh*t that lurks beneath the surface, confusing, confounding and oddly uplifting all at once. A wonderful album that comes to you with our highest possible recommendation.
Hip-hop’s links with jazz reach back to Gil Scott-Heron and The Last Poets, but does jazz love hip-hop back? Badbadnotgood certainly do: the instrumental trio scored work with Frank Ocean, Tyler, The Creator and RZA after their Odd Future cover during a performance exam at jazz college failed to wow the assembled panel of judges but succeeded in wowing the internet. Sounds like the plot to every bad ‘street dancing’ film ever, but new album ‘III’ is a fluid, inventive affair. Shades of post-rock make the whole feel oddly conservative in parts, but ‘Can’t Leave The Night’ sounds like a trap DJ Shadow, and ‘Hedron’ boasts imagination to match the band’s spectacular musicianship.