In 2019, England's GoGo Penguin issued Ocean in a Drop: Music for Film, as a stopgap between full-lengths. One of its tracks, "Time Lapse City" inadvertently offered a metaphorical description of the band's approach to making music. Always in motion, shifting constantly between repetition, rhythms, and improvisation, this is a group clearly influenced by Philip Glass' early minimalist, cyclical recordings. That said, they absorbed them simultaneously with devotion for techno, drum'n'bass, post-bop, post-rock, and electric ...
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In 2019, England's GoGo Penguin issued Ocean in a Drop: Music for Film, as a stopgap between full-lengths. One of its tracks, "Time Lapse City" inadvertently offered a metaphorical description of the band's approach to making music. Always in motion, shifting constantly between repetition, rhythms, and improvisation, this is a group clearly influenced by Philip Glass' early minimalist, cyclical recordings. That said, they absorbed them simultaneously with devotion for techno, drum'n'bass, post-bop, post-rock, and electric jazz. The group's self-titled fifth album underscores the accuracy of these influences alongside new musical directions. The best verb to describe the music found here is "propelled." It doesn't rely on grooves so much as energetic trio conversation: the space behind Chris Illingworth's suspended, alternately hovering and biting piano lines is framed by the rich, woody tone of Nick Blacka's upright bass playing and the skittering, forceful, breakbeat-driven drumming of Rob Turner. Their inherent group lyricism and infectious rhythms are in full force as Illingworth's skillful sound-sculpting is revealed in more intricate detail on opener "#1" as it produces natural, rustling atmospherics and ghostly, floating piano. Turner's infectious percussion is tweaked with found objects and prepared props and delay, while Blacka adds fat percussive plucks, reverb, and arco playing as both a tonal guidepost and rhythmic backdrop. First single "Atomised" is introduced with rolling breaks juxtaposed with Illingworth's hypnotic piano lines. Blacka offers the changes through each minimally evolving cycle. When the pianist moves afield, it's with cascading chords that eventually drop out to allow Turner's kit a snare groove that pushes the tune toward lithe, mutant, almost unbearably beautiful funk. "Signal in the Noise" commences with the pianist strumming the strings inside his instrument as Turner and Blacka assert a pedal-to-the-medal post-rock groove upon which Illingworth inquires in layered chords, shimmering ostinatos, and beat-conscious vamps. On "Kora," Illingworth emulates the pulse and tonality of the African folk instrument as Turner adds funky snare breaks and tom-tom choogle. Blacka helms the hooky melody as the pianist begins to extrapolate in fours with intervallic pulses. While "To the Nth" is introduced by reverbed glissando piano and the intricate accents from Turner's kit add force and motion in equal measure. The number gradually unfolds with syncopated, classically tinged post-bop; a lyric melody develops between repetitive piano lines and fat, meaty, distorted accents from Blacka.If there is one complaint about this beguiling, driving outing, it's that after its 44-minute running time, Gogo Penguin's "magic in motion" aesthetic is so beautifully articulated in this immersive, mysterious music, they will leave listeners wanting much, much more. ~ Thom Jurek, Rovi
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Seller's Description:
Fair. Ex-Library rental. Disc(s) are professionally cleaned and may contain only light scratches that do not effect functionality. Includes disc(s), case, and artwork. May be missing booklet. Disc(s), case, and artwork may contain library/security stickers and ink writing. ARTWORK IS UNORIGINAL AND PRINTED BY LIBRARY. Case and artwork may show some wear. Case may not be an original jewel case. All disc(s) are authentic.
