Friday, February 09, 2018

Fire! - The Hands (Rune Grammofon, 2018)

The Swedish trio Fire! consists of Mats Gustafsson on saxophones, Johan Berthling on bass and Andreas Werliin on drums. They stake out a twilight area of music where free jazz meets heavy metal, with thick sludge being punctuated by blasts of raw unadulterated power. "The Hands" opens the album with huge slabs of grinding sound taken at a fast tempo, as a crisp drumbeat echoes against arcs of electronic feedback. The saxophone comes in after a minute, pushing a huge column of air before it, adding it's weight to the music making the whole sound feel like a force of nature. Squalls of higher pitched saxophone are juxtaposed against lower end rumbles. Some distorted dialogue with an ominous beat develops into "When Her Lips Collapsed," which has a low metallic crushing weight, intensified by the addition of saxophone casting further shade into the proceedings. Raw bellows and roars are heard across the soundscape, like a giant lumbering across a meadow, creating an atmosphere of dread. "Touches Me with the Tips of Wonder" continues in this vein, slowly gathering in volume and scope with light brushes and spacious nature of the music. Long tones of saxophone meet the subtle percussion and bass, giving the performance a dreamlike countenance. The wonderfully titled "Washing Your Heart in Filth" picks the pace back up with tight bass and percussion getting a fast and nimble rhythm going, and allowing the saxophone to blow taut gales of sound across the action, engaging with it, framing and commenting in due course. Raw, rending sounds add to the excitement of the track, pushing the collective improvisation further into the red, with excellent and frenetic drumming driving the music forward. The full band lurches forward on "Up and Down" which has a fast paced full band improvisation that is very good, with the group creating a full thick post-rock sound that is further enhanced by the ferocious saxophone that really digs into the meat of the performance, and the relentless drumming that gives the music structure and coherence. The guitar and bass create an appropriately heavy atmosphere, but ultimately it is the titanic saxophone and percussion meeting that defines this performance, ending eerily with fractured and garbled dialogue. At nine minutes, "To Shave the Leaves. In Red. In Black" is twice as long as any other track on the album, and unfolds gradually until there are massive gales of saxophone over an unnervingly static backdrop with bellows and roaring sounds aplenty. "I Guard Her to Rest. Declaring Silence." concludes the album is a dreamy and moody fashion with a quiet beat, thick bass and low mournful saxophone. This is an excellent album that defies categorization, melding elements of jazz, rock, metal and more into a crucible of energetic freedom. The Hands -

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