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What do you call this stuff?
The word ‘free’ is in there somewhere, certainly..but ‘free’ what?
Is it ‘free jazz’?
Well, yes, there is plenty of free jazz in there – rasping, jerking, twitching, full-on electrocution stuff, if that’s your thing…
But what? Well – there are – tunes as well; and mellow chilled out bits, and regular grooves, and tender little melodies that ache like little pop-songs.
OK – but it’s all improvised, isn’t it? Can’t you just call it ‘free improvisation’?
Ummm.. not quite – there is a little written stuff sneaked in there, and – well – it just doesn’t sound like free improvisation. It sounds – well, like something else. Hard to pick out one thing, though.
So where does ‘free’ come in?
It’s there because the band plays what they want, with a sense of fun – improvising without precondition, without an aesthetic agenda, other than what they share together as common taste. So maybe it's free, just a little, at the core - free to be melodic, free to be un-melodic, free to be abstract, free to groove, free to break down into fractured pieces of noise, free to riff. And if others have different notions of 'free', that's fine too.
‘Scraffiti’ emerged one warm summer’s day, in a makeshift studio. It is full of the moods of the moment, shifting like the clouds that scuttled by that day. ‘The lyricism and interplay on some pieces make it sound as if it's thoroughly rehearsed or at least pre-conceived, but apparently not’; this is how Splatter’s last album, ‘Music for Misanthropes’ was reviewed by Stef Gijssels, yet it might be an equally accurate description of ‘Scraffiti’. Even although Splatter have included five tracks with written material, the other eleven improvised tracks seemed to emerge fully formed, ranging from the languid ‘High Plains’ where time almost seems suspended, to the frenetic quick-fire interchange of ‘Alarums & Excursions’ where every second is charged with frantic urgency.
- in Italian @
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