‘Variety of Rhythm’ – Samuel Hällkvist

AN ENTICING, evolving experience which exhibits tremors of 1970s progressive formats, exploratory Swedish electric guitarist Samuel Hällkvist returns with immersive instrumental soundscape Variety of Rhythm.

His Variety of Loud and Variety of Live releases, of 2012 and 2015 respectively, revealed a musician with a singularly experimental vision for composition, instrumentation and improvisation; and he continues to garner respect across music’s cross-pollenating rock, electronica and jazz boundaries, from Roxy Music guitarist Phil Manzanera and ex-Japan keyboardist Richard Barbieri to trumpeter Yazz Ahmed (who reciprocally invited Hällkvist to appear on her recent release La Saboteuse).

Over the course of this continuous suite of almost 45 minutes, Hällkvist collaborates with a dozen musicians – including renowned US guitarist David Torn – through separately-recorded, differing scales of ensemble (in Japan, Portugal, New York, Paris, Belgium and Scandinavia), drawing mind and soul into a fluctuating landscape of sound which prompts the listener to contribute through their imagination. Hällkvist typically becomes part of the whole, integrating his processed guitar through a labyrinth of industrially cinematic drama, repetitively clanging timbres and almost dystopian sustained resonances – yet rather than creating an abstract mishmash, these carefully-woven ideas and illusions gradually become powerfully compelling, especially once they establish themselves in the psyche.

Timed, named waymarkers offer a clue to a conceptual, rock-solid framework interspersed with improvisational interludes (Hällkvist elaborating on the technical and structural aspects here), though the entirety of the work can easily be appreciated from a purely creative, openly-receptive standpoint. Double Adagio‘s rippling, wailing fuzz-guitar wall is propelled by time-shifting voice-and-glockenspiel-like tones, whereas as the more grungy trudge of nine-minute Tete-a-Tete / Blivet progresses into heavy metal, tinged with Steve Reichian attacca strings and ominously soaring guitar. David Torn’s expansive Huly Marga features his searching low-distorted guitar extemporisations against an electronic landscape reminiscent of Pink Floyd or late EST, whilst the extraordinary cross-rhythmic complexity of The Necker Cube, with oriental overtones, spills into subway-sax frenzy, movie-mystery malleted percussion and climactic, grooving grandeur.

Samuel Hällkvist’s maverick, detoured pathways create intrigue, and might initially overwhelm; but put through a responsive sound system, these three-dimensional worlds render in vivid full colour – the excellent concentric/segmented cover graphic points the way!

Released on 13 October 2017, Variety of Rhythm can be purchased digitally at Bandcamp, and is due to be available in gatefold CD format from Discovery Records and Amazon.

 

Samuel Hällkvist guitar
Dick Lövgren bass
David Torn guitar
Liesbeth Lambrecht violin
Qarin Wikström voice
Knut Finsrud drums
Pete Drungle keys
Yasuhiro Yoshigaki drums
Kumiko Takara mallet percussion
Paulo Chagas sax, flute
Silvia Corda various objects
Adriano Orru bass
Katrine Amsler edit, sound design

Mixed by August Wanngren

samuelhallkvist.com
varietyof.com

BoogiePost Recordings – BPCD024 (2017)

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‘Living Being’ – Vincent Peirani

VincentPeirani

THERE IS something intrinsically Gallic about the sound of the accordion, evoking visions (however hackneyed) of Parisiene walkways or vast Loire Valley vineyards to a bal-musette soundtrack of Émile Vacher – or alternatively, in current musical spheres, the highly regarded and prolific master of that instrument, Richard Galliano.

Breaking the mould in pretty spectacular fashion is the genre-busting accordion artistry of Vincent Peirani. Hailing from Nice, and recently collecting both Prix Django d’Or and ECHO Jazz awards, as well as being voted 2014 Artist of the Year in Jazz Magazine France, his music draws on sounds which have influenced him over the years – classically trained, yet absorbing the diversity of rock, pop, jazz and electronica. Describing the worldwide accessibility of music which brings so much verve and freedom to his own compositions, Peirani says, “For me, this is the future of jazz: today, musicians have access to every conceivable form of music anytime on the Internet. Travelling is easier, so in Paris, as in most other cities, you’ll meet musicians from all around the world. If you are open to exploring new cultures and ideas, this is a goldmine of opportunity!”

The accordionist’s band was created with that multiformity in mind, though all originating from the same home town – Emile Parisien (saxes), Tony Paeleman (Rhodes, effects), Julien Herné (electric bass, effects) and Yoann Serra (drums). And having performed and rehearsed intensely, prior to this recording, it’s evident that they have crystallised their varying career experiences – eg rhythm & blues, hip-hop, pop, jazz, gypsy – into a tight yet exhilaratingly transitional new quintet. Indeed, after much listening, it’s the unpredictability and divergence of these nine numbers (mostly originals) which hold the attention.

Vincent Peirani is clearly an accomplished accordionist, using his instrument to offer sustained walls of sound, rapid ostinati and fluid soloing – and the ability to closely meld his output with the often similar timbres of Tony Paeleman’s Fender Rhodes can be heard in Suite en V, Pt. 1, over which Emile Parisien improvises broadly on soprano sax. Dream Brother swings between accordion wistfulness and driving jazz/rock; and the hallucinatory groove of Mutinerie brings reminiscences of ’70s Soft Machine, complete with echoic effects and tricksy riffs.

Air Song #2‘s powerful melodic intertwining of soprano, accordion and Rhodes ripples to an addictive electronic pulse from Paeleman, Herné and Serra. At almost nine minutes, Some Monk is both spacially and flamboyantly inventive, with a tangible impression of free group improvisation; and Julien Herné’s fabulously mobile electric bass is just one exciting element of fusion-feel Workin’ Rhythm, Yoann Serra’s precise drums combining with Peirani’s complex fingerwork and Paeleman’s joyously gruff Rhodes – priceless.

Released on 9 February 2015, the successful weave of so many strands marks out Living Being as a compelling experience. Further information and audio clips are available at ACT Music.

 

Vincent Peirani accordion, voice
Emile Parisien soprano & tenor saxophones
Tony Paeleman Fender Rhodes, effects
Julien Herné electric bass, effects
Yoann Serra drums

vincent-peirani.com

ACT Music – 9584-2 (2015)