T.A.Ll - Progressive Voyages Review PV036
T.A.LL – T.A.L.l Progressive Voyages Review PV036
This album was sent to me by the owner of Roth Handle studios Mattias Olsson who is the drummer of T.A.L.l
This album is I guess ambient type jazz, it is certainly different with lots of rhythmic experimentations throughout its mere 5 songs, which vary in length from the shorter tracks Irwin and Anders Bern to the epic length pieces, Fattening, Orwell and Beatrice, these 3 are all over 15minutes in length alone giving the 2hole cd a running time of 64 minutes and 43 seconds duration.
I was very glad to receive this from mattias as he sent me an earlier album as well Kino by Molesome, along with a handwritten letter and a postcard, which was very generous of him indeed, the album actually stems from February 2023 and was released some time after it’s recordings, I suspect early in 2024, so this review is probably late in its life cycle non us still a worthwhile release as it is brim-full interesting ideas and complex musical constructs, This is an album to relax into and allow it to wash over you, as there is much to enjoy and appreciate herein.
Opening track us Fattening which is a lengthy instrumental as indeed is the whole album, that hinges on a bass motif and its interaction with Matthias Olsson’s almost metronome like drumbeat, Jiri Jon Hjorth’s athletic bass play into that beat with subtle accentuates and tones I believe he used a fretless bass as some on the runs are very smooth and lyrical as you would get from a Fretless Bass.
I Do like this track whilst I realise that it may not be to everyone’s tastes but as a piece of improved music it has a lot to commend it.
The guitar lines by Johnathon Segal are interesting as he plays in a very different style his parts are subtle and never showy, he leaves that to the others, but you’d miss home if he wasn’t heard. Mogens Deenfort synths carry much of the sound with the various tones and sweeps all of which together create an̈ different ambient sound.
Second track Anders Bern opens with a heavy bass line and bass synths playing deep notes which actually contrasts with Matias’s drum pattern in an almost off timing, you are waiting for him to catch them up but he never quite seems to for some reason, there are a lot of strange synth intersections as well all of which add to the discomfort that this brief piece offers listeners, it is actually quite a tough listen really I didn’t really enjoy this piece as much as the first piece,
Next track is another lengthy piece called Orwell, this opens with synths and a master drumbeat that propels the track along with Oskar Forsgerg’s saxophone which plays wildly over the whole sound of drums bass and synths, I think this was entirely improvised in the studio, it certainly sounds like it was, maybe the rhythm was laid down and Oskar put his parts over the top, with possibly a few synth bits added as well,
You can’t really hear the guitar very much at all in this piece, which is a pity as it would benefit from a few extra colours to the track, I do like this track especially once the saxophone retreats to the background a little and then you can hear the guitar emerge and bring a different sound to the foreground. The synths add some great colours to this track too and overall the impression is positive.
Next track is Irwin which has Francisca Marchan on vocals and Clarinet this begins with acoustic guitar and muted synths and wordless vocals, making it sound very atmospheric in sound the bass appears to be a double bass ( I could be wrong here) the sound is interesting and different from what has gone on the other tracks, you hear the Clarinet play a solo 8n the middle section of the track the and it is a pleasant if not a little discordant in places, I do like this track also as it is softer and less intense in sound until a heavy synth comes to the fore and smother the softer parts completely before retreating to the gentle opening section once again. An interesting track for sure and not totally unpleasant sounding,
Final piece is entitled Beatrice and is another long song opening with bass and synths burbling and squawk, before settling down and more synths take over until the drums start to add subtle syncopation to the track, Francisca’s Clarinet returns for this track and it’s woody tones add something extra to this track, contrasting with the bass runs and the guitar and synths very sweetly, this is an exercise in solid bass playing and in creating and maintaining an solid rhythmic groove not a lot happens really but it still sounds strong and steady which I guess is the point of the track, this is a slow burn of a track as it stays at the same pace for much of the track, the Clarinet adding the main colouring for the piece,
This album is probably not for everyone but those who like bass and experim3ntal wmbienc3 may find some acceptable parts to it, As always it up to you, you can hear it on bandcamp and make u0 your own mind
Info here:T.a.l.l | T.a.l.l | Roth-händle https://share.google/CtsTwtM2OcY8Gg0YN
Author John Wenlock-Smith