I interview a series of musicians, from Zappa alumni like Robert (Bobby) Martin and Mike Keneally through to Thighpaulsandra, Matt Stevens and …probably too many others, asking them about what Zappa record they’d recommend as a starting point.
My review of KoMaRa’s debut album is now up at Echoes and Dust. Click the link to read, but spoiler alert: I seriously dug this avant-garde beauty. Featuring Pat Mastellotto of King Crimson fame and artwork by Adam Jones of Tool, this was always going to find it’s way into my heart. Also, the other musicians David Kollar and Paolo Raineri messaged me on FB thanking me for the review, and that’s always a nice touch!
This is the first studio album by Mats/Morgan since 2005’s Thanks for Flying With Us. For those not initiated with the singularly unique sound of these skilled Swedes, the brains behind Mats/Morgan are Morgan Ågren (drums) and Mats Öberg (keyboards). Both child prodigies on their respective instruments, the duo became of particular note when Frank Zappa met them while on tour. Suitably impressed at their mastery of his own work, he took them under his wing and acted as a teacher and mentor.
The technically challenging and playful qualities of Zappa’s music have definitely carried over to Mats/Morgan’s own work, but the band certainly aren’t restricting themselves to pure Zappa worship. On their latest release [schack tati], Mats/Morgan delves into old school progressive rock, jazz fusion and dance music to name a few genres. “Dracul of Nancy” is where 8-bit Nintendo music collides with saxophones and polyrhythms, whilst things take a more introspective turn for the mainly keyboard-driven lengthy instrumental “Mr. Piccand”.
Limitless textures and sounds are explored here. You’d expect so much from such a skilled keyboardist (who’s blind, by the way!), but it’s pleasantly surprising to hear so many different styles employed by Ågren. Acoustic and electronic drums are both utilised to their full ability, alongside samples, electronic glitches and a variety of percussion. Pick any two tracks and there’s a different keyboard patch, a different drum sound. These subtle changes add a lot to [schack tati] overall, and that the album still manages to escaping sounding schizophrenic is admirable.
If fact, the incorporation of the aforementioned glitches into their already expansive palette of rhythms leads to some of the best parts of the album, the heavily electronic “Walk Here” and the much jazzier and frenzied “Rappel”.
However, the stand-out track has to be the album opener “Rubber Sky”. Keyboards dance around the simple yet killer groove set in place by Ågren (playing drums, guitar and bass). The groove drops away completely for some of the only vocals on the album – sung by Morgan’s son, Alvin Ågren. The childish (literally) vocals add that playful, undeniably Zappa-esque quality to the music, particularly when juxtaposed with the heavy bass and guitar grooves. “Rubber Sky” rocks hard, fitting a lot into its three minute runtime without sounding like it’s doing so. Part of me laments that the track isn’t particularly indicative of [schack tati] as a whole, as I’d love to hear more music in this vein.
To their credit, no track overstays its welcome. Mats/Morgan manage to fit their unique brand of experimental instrumental music into short nuggets of gold – most of the 12 tracks sit comfortably between 2 and 4 minutes. Everything is honed down to a fine art, so not surprising it was 9 years between albums. Hopefully we don’t have to wait another 9 years for another, but if it’s generating music of this quality I certainly won’t mind too much.
I recently interviewed Marco Minnemann for the website Echoes and Dust, which you can read here. You can also check out my review of his album EEPShere.
If you’ve not heard the work of Marco Minnemann, I strongly recommend you check him out. He drums for pretty much everyone awesome, but also is one of those people I’m incredibly envious of; he has an ability to play every instrument ever at the highest level.