(Electro-Jazz, Trip Hop, Space-Jazz, Future Jazz) Flanger - Outer Space/Inner Space [Ninja Tune / ZENCD61] - 2001, FLAC (image + .cue), lossless

Герр Фридман всегда отличался "трудным", предельно концептуальным
подходом к написанию музыки. Во всех своих проектах, он -
исследователь нестандартного, пограничного. Будь то набор странных
звуковых форм и акустических пустот на альбоме "Erholungsgebiete"
(1996). Или своеобразный, будто вывернутый наизнанку, minimal-dub
на последнем альбоме проекта Burnt Friedman & Nu Dub Players
"Can't Cool" (2003).
Герр Шмидт - напротив, в качестве идола принял выдуманный им же
образ, в котором сочетается эдакая порно-роскошь алкогольного
экстаза с фривольными латино-джазовыми экспериментами. Убежав от
техно-амбиентной эстетики Atom Heart в сторону ультрамодного
проекта Lisa Carbon Trio (середина 90-х), его "порочное"
мировозрение трансформировалось в веселый freak-easy-listening
Senior Coconut (то бишь Сеньор Кокос). Для пущего эффекта Шмидт
некоторое время назад переехал в Сантьяго-де-Чили, где в своей
студии идеально имитирует многоголосный оркестр, шедро разбавляя
это дело наследием латиноамериканской эстрады разных лет. Оценить
результат можно здесь: альбом Senior Coconut "Fiesta Songs" (2003).
Представьте теперь, как звучит Flanger... Не получается
представить? Вот именно
Открывающий трек "Outer Space / Inner Space" сразу обозначает,
куда именно нам предстоит полететь. Общее впечатление
парадоксальное: сдержанность и энергетика. Вместо ожидаемого
концептуального буйства - красивая, качественная музыка. Все в
меру - и джаз, и фанк, и латино. Работают профессионалы. Особое
внимание на ритмические конструкции - они бесподобны.
За 46 минут звучания альбома, нестройная импровизация из
"латинообразных" трещеток и басов неожиданно перерождается в
оригинальный рисунок, структурный и "умный". В то же время над
всем этим ("светлой татью в ночи", так сказать) парит вездесущий
дух Kraftwerk... Войдя в такой реку, уже трудно купаться где-либо
еще. Мелодии, обильно синкопированные, гармоничными штрихами
ложатся на поверхность. Именно "мелодии", а не "мелодизм".
Никакого второго сорта - только высший. Как результат: один из
лучших электроджазовых альбомов последнего времени. Браво, немцы!
И напоследок слова, сказанные Bernd Friedman в одном интервью:
"Для меня музыка -- это утешение. Я определяю музыку как
утешение, как что-то, что снимает твою боль, что преобразует твою
боль в нечто позитивное. Не обязательно во что-то остроумное, но
во что-то энергичное, в то, что тебя утешает, что дает надежду.
Отчаяние, горе, страх, возможно - даже страх смерти, преобразуется
красотой музыки. Это то, чего я ожидаю от музыки, это самое
основное... неважно, серьезная это музыка, или развлекательная".
01.10.2003 Ильяс Миканаев (frodo, electrosound.ru)

Screenwriting guru Robert McKee once joked that the shortest book
possible would be a history of German humor. He said this, I
believe, without having read a single interview with Markus Popp.
The dour German stereotype may be common for people in the States
raised on "Sprockets," but it's just not accurate. Exhibit A:
Flanger.
Look at the front of this record cover: Atom Heart and Burnt
Friedman standing on the barren surface of some distant planet in
full astronaut gear. Only it's not really them, just some cropped
press photos of their faces pasted into jpegs pulled from the NASA
site. They look so damn goofy standing there on that planet, but
they're clearly in on the fun. And then there are long-winded the
liner notes, written by a fellow named James Dean Brown, which
claim, "The only way of downscaling Burnt's musical-conviction
potentiometer is to previously install a logical bypass."
On second thought, Mr. Dean Brown could be on to something. A
potentiometer is an instrument for analyzing electrical potential,
and Outer Space/Inner Space is vastly superior to last year's
Midnight Sound because it contains so much more possibility. Both
records are basically light cocktail jazz manipulated via
computer, but where the source of Midnight Sound's crackly, raw
material seemed nebulous, Outer Space/Inner Space is a crisp
recording of live musicians who put some energy in their playing.
Hearing this more "natural" approach bumping against the
electronics gives the record a great deal more tension than the
sleepy Midnight Sound could muster. It also makes the listening
more fun.
The third track, "The Men Who Fell from Earth," is a nice
illustration of what I'm talking about. The opening section blends
percussive static hits with manipulated drum runs of inhuman
tempo, and then the piece abruptly transforms into lazy downtempo
lounge for a couple of minutes before accelerating once again into
spastic glitch music. Each individual part is rendered properly,
but you'd never imagined that they could fit together so well, or
indeed, that they could fit together at all. "Le Dernier Combat"
is another track that seamlessly modulates from Medeski, Martin
and Wood-style instrumental jazz to abstract electronics and back
again. The skill here is in the transitions-- not only are they
not jarring, but each stylistic shift seems perfectly logical. Odd
guitar treatments crop up here and there, courtesy of enigmatic
Cologne musician Josef Suchy, lending another intriguing texture.
The tracks that fall outside the conceptual framework still
impress with their melodic sense and rhythmic interplay. Though
the album was no doubt edited on computer and it's quite possible
that none of the musicians actually performed together (the notes
list separate recording studios for each of the instruments), the
infectiousness of the Latin beats is undeniable, and the three
Chilean percussionists credited help give the record an impressive
syncopated pulse. "Inner Spacesuit," in particular, absolutely
bubbles with rhythm, and it always makes me wish I had a drink of
some kind in my hand when I hear it. But this straight-up track
has a surprising coda, as the rhythm fades and Suchy's processed
guitar harmonics take over, sending the piece spinning off in a
completely different but equally attractive direction. Both funny
ha-ha and funny strange, Outer Space/Inner Space is worth
exploring.
Rating: 8.1
(by Mark Richard-San, pitchforkmedia.com)

With 2001's Outer Space/Inner Space -- how apt a title and motif
for this space odyssey! -- Flanger vault even further forward into
the future of jazz while somehow managing to keep one foot in the
roots of hard bop, free jazz, Latin jazz, and samba. The grounding
element is most likely the core of guest musicians, including
players from Cologne, Germany; Copenhagen, Denmark; and Santiago,
Chile. On the title track a robotic voice chants "outer space"
over decidedly retro Latin jazz rhythms augmented by occasional
synthesizer flourishes and beats that are equal parts organic
percussion and electro loops, again blurring the line between jazz
old and new, which appears to be the Flanger modus operandi.
"Galak" is an astronaut's floating dream with its fluid blend of
spacy vibes and earthy acoustic bass, its spiraling ascent chased
along by dueling congas and fusion guitar. A squelchy computer
rhythm clashes with driving acoustic drums while two keyboards and
processed bass and guitar battle it out furiously on "The Men Who
Fell From Earth," evocative of a more down to earth (so to speak)
Squarepusher. A sexy Rhodes fuels the robot dance of "Inner
Spacesuit," while flailing funk bass propels the sci-fi theme "Le
Dernier Combat." (Is that a Spanish-speaking musician announcing
something like "I'm drunk" on the fade?) The zenith, and mission
statement, of this album is "It Ain't Rocket Science," with its
dueling Coltrane-esque saxophones and grimy techstep beat
programming that perfectly meld the origin and the destination of
modern jazz. Apparently it takes two forward-thinking and often
whimsical German composer/multi-instrumentalist/deconstructionists
and their host of multiethnic trad jazz players to bring the
groove to the sometimes stiff world of jazz and launch it into the
future.
(by Brian Way, AMG)

Estrazione file di log EAC da 15. Aprile 2005, 16:51 per CD
Flanger / Outer Space/Inner Space
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