Album Reviews:

2009: …vom fernen Kern der Sache

---

…vom fernen Kern der Sache

1 Lanjusto 2 The Arrival of Lee Pershn Sirgal 3 A Tale from the Forest 4 Vom fernen Kern der Sache 5 Knock Code 3 6 Seldom Was Covered with Snow and Old Oak 7 The Angry Man 8 Sad Lily

There is too much water in the sea

While the debut Hildegard lernt fliegen (2007) of Andreas Schaerer’s brainchild already impressed with originality and freshness through jester-like flirtation with the ridiculous in a chamberesque avant-jazz context, its follow-up is the six piece avant-combo’s fully realised form. The composition are as unpredictable yet easy to follow, there’s a larger amplitude of moods – compare the histrionic showtune extravaganza of „The Arrival Of Lee Pershn Sirgal“ with the almost Ellingtonian melancholy of the double-bass-reliant piece „Sad Lily“ – and, yet again, outrageous vocalist Schaerer is in full flight: his voice cajoles, careens, scats, doubles as a trombone and does all the silly tricks you would expect from a vocal acrobat. The difference is, though, that it doesn’t come off as a pure joke, his voice is implemented as an additional instrument.

The compositions, though having an earnest bend towards Mingus and avant-prog, owe a larger part to Zappa’s big band experiments (don’t pay too close attention to the lyrics though, they are pretty clearly just syllables meant to match up a former scat in dadaist/Eno-manner). While Schaerer is the brain and heart of the project, one should listen very, very carefully to the band – whipped into shape with the precision of a workaholic, they still all find little niches, cracks and alcoves to make the whole affair conversational instead of stubborn, open-ended instead of constructed (when a featured typewriter provides the beat, you hardly notice for how naturally it fits in). Probably the band’s masterpiece, as Hildegard goes flying like a weird, boney, flapping and yapping wayward mechanism through some Dali-painting’s sky. Be sure to pick this one up if you’re interested in the theatrical side of contemporary avant-jazz, where Zappa’s shadow stops looming and things turn bright again.