The Lovecraft Sextet celebrated on the limited 7″ EP Black†White twice his typical dark jazz black metal hybrids. As expected, great – but ultimately not really a satisfying release.
„Both „Black“ and „White“ are possessed of a truly singular atmosphere, borne of experimentation with musical styles and dynamic climaxes inspired by the ground-breaking works of Albert Ayler, Pharoah Sanders, early NAPALM DEATH, BEHERIT and the Zorn/Laswell/Harris trio PAINKILLER.“ proclaims the package insert and is of course not wrong.
As soon Black with Drill-Saxophone by Colin Webster and shuffling brush drums begins in a typically nebulous manner in a velvety soft suspense mood, the pull of the atmosphere is so serious that you are immediately inside without a warm-up time, in this patented Jason Koehnen atmosphere, which once again confirms: Dark jazz can only be damn few as perfect as the Dutchman.
And as soon as the slow-motion with wriggling hi-hats tilts the spectrum as a trademark highlight of this project with swirling blast beats into black metal, it just sounds as if it were Twin Peaks a neighboring city of Utrecht. Only the outburst into this frenzied hatred remains less consistent here and too fleeting in the context of the five and a half minutes of playing time – it seems more like a vague option, before the number rushes back into the basement jazz fever dream with composure, with sloppy nonchalance more fancily its sacred foothills drifts.
As I said: this is fundamentally fantastic and on an unprecedented level, even if the stylistic characteristic of the Lovecraft Sextets is not exhausted – but in the end, despite everything, an underwhelming impression remains: And that was it?
White can only remedy this to a limited extent, because the amplitudes and nuances are again hatched too noncommittally and the structure of the number is also practically identical to that of Black.
The one here more clearly Kilimanjaro Darkjazz Ensemble trained MO now roams darker through an eternal midnight, with the a little more electronic, washed-out beat of the 80s, and later the number tears the alignment back to berserker, banging (where the presumed nagging and hissing unfortunately remain at most a non-existent notion far in the background) . White in this respect moves more excessively to the shredder and ends it more directly, then disappears again gently flowing – only the number draws even less from the even slightly greater potential than Black. In other words: it would be more spacious and the stylistic facets more extreme Black†White been a highlight of the scene, not just a (very) good genre show (with few objective fan glasses).
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