The Comet Is Coming
The Afterlife CD
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商品の情報
| 発売日：2019年12月17日 / ジャンル：ROCK/POP / フォーマット：CD / 構成数：1 / 製造国：International Version / レーベル：Impulse! / SKU：602508148873 / 規格品番：0811488 |
商品の紹介
| FUJI ROCK 2019で初来日公演も果たしたUKの話題のトリオ、ザ・コメット・イズ・カミングのEP『The Afterlife』のCDがリリース。 サックス奏者、シャバカ・ハッチングスがリーダーというわけではなく、ラマーのマックス・ハレット、キーボード奏者のダナログの3人が同等であり、互いにコミュニケーションをとりながら作るという点ではジャズそのものだが、音はエレクトロニックなところが今どきのUKならではな3人で爆発的なエネルギーが魅力の一つ。 本作は3月にリリースされたインパルス第1弾『Trust in The Lifeforce of The Deep Mystery』に続く作品だが、『Lifeforce』のコンパニオン的作品で昼と夜、光と暗がり、クリエイションと破壊のように表裏一体をなしており、同時に作られたものとのことだ。 |
| 発売・販売元 提供資料（2019/11/08） |
| For the second time in 2019, Englands spiritual sci-fi jazz trio the Comet Is Coming lay out their dystopian vision of earth with a provocative, hybrid evolutionary new thing music that melds electronica, soulful out-jazz, spidery funk, swampy dub, and prophetic poetry. Cut during the same sessions as Trust in the Lifeforce of the Deep Mystery, its not a collection of outtakes or even a sequel, but a holistic mirror image that comes from the same sphere of aesthetic investigation and font of inspiration. According to the band, …These two records can be seen as companions that cannot exist without each other, like day and night, light and dark, creation and destruction. They were made together, at the same time, and have always been intended to be experienced together. At nearly eight minutes, All That Matters Is the Moments is one of the sets longest cuts. Its introduced by sweeping outer space electronics and Shabaka Hutchings spiraling tenor sax playing a cosmic, spiritual blues solo before guest poet Joshua Idehen begins his prophetic dissemblage above Dan Danalogue Leavers low-tuned, fuzzed-out, dubwise bassline and Max Betamax” Halletts Nyabinghi-style tom-tom and cymbal drumming. After Idehen delivers a spiky prediction amid the notion that what hes doing is daydreaming of a world I wont live to see, he offers a glimmer of hope as he speaks of holding onto cherished memories of the friendships that came during times of loss and destruction. King Shabakas tenor horn slices in and wails the blues amid phase-shifted atmospherics and layered electronic textures fusing future jazz and reggae. The Softness of the Present stands in pillowy contrast as its interlocking grooves of layered keyboards and rolling snare frame Hutchings hypnotic, melodic, Nigerian-inspired melody. The set shifts again in the title tracks amorphous darkness informed by atmospheric and dynamic hints of menace via a minimalist, hypnotic four-note sax line, sine-wave oscillations, synth and organ ostinatos, and doomy drumming (reminiscent of Martin Hannetts production on Joy Divisions Closer). The two-part Lifeforce is introduced by beeps and space blips, wafting keyboard chord voicings, and rolling cymbals and snares. Hutchings practices circular breathing in a seemingly unending flurry of insistent yet melancholy notes that crisscross Albert Ayler, Roland Kirk, and John Coltrane during the first half. Its latter part is an insistent, funky, pulsing rhythmic stomp using all the same elements. Closer The Seven Planetary Heavens is a processional, its slow march punctuated by slow, sweeping lyricism in a pronounced series of changes that highlight tension and release via the rhythm sections canny interplay and wonky Danalogue electronics. It eventually breaks wide open, signaling that the end of one thing -- cultures, planets, stars, galaxies -- always gives birth to another through disruption and evolution. Suffice to say, it, like Afterlife as a whole, ends in a very different place from where it began, leaving the listener to wonder if its the introduction to Trust in the Lifeforce of the Deep Mystery, or a provocative new beginning altogether. ~ Thom Jurek |
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収録内容
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・構成数 | 1 ・合計収録時間 | 00:32:20 1.CD
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