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Fire! - 2018 - The Hands (FLAC, Rune Grammofon 2197)

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Torrent File Content (10 files)

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Music : Jazz : Lossless
 

Rune
Grammofon RCD 2197.

1	The Hands	
2	When Her Lips Collapsed	
3	Touches Me With The Tips Of
Wonder	
4	Washing Your Heart In Filth	
5	Up And Down	
6	To Shave The Leaves. In Red. In Black.	
7	I
Guard Her To Rest. Declaring Silence.	

Andreas Werliin: drums, percussion
Johan Berthling:
electric bass, double bass
Mats Gustafsson: tenor, baritone & bass saxophones, electronics

Another one to thank The Quietus for, which makes two this week (the other being the inimitable Xylouris White) --
Fire! enter the fray with something like a gravitational pull, a skulking presence that soaks up surrounding sounds and
uses those sounds to propel itself forward. The Hands is 2018’s first tribute to the snowball effect. It’s
an indomitable wall of skronking and squawking and screeching that is stubborn because there’s no space for
external stressors in Fire!’s house when the music is filling it all up in the first place. 
To the winds of
change: you are no match for Mats Gustafsson’s saxophone. Whether it’s murmuring incantations on I Guard
Her to Rest. Declaring Silence. (the record’s understated closer) or wailing over drone rock structures that
could reduce Bardo Pond to a subset of envy, the instrument here captures my attention more than you can. Not to
consider it in a vacuum, or to reduce it to something so obnoxious -- it allows for brief passes at circumstances
outside those that it manifests for itself. Up. And Down finds the tenor uncertain for a moment, at its most free-jazz
because its faith in volume and conviction falters. Blink and you’ll miss it, before it’s once more able
to hold a note without its voice breaking in a million directions. 
To the subsequent unknown: your unsteadines;
no, your unpredictability is countered, without mercy or apprehension, by Johan Berthling’s bass. Hands
symbolise, along with interaction (though that’s neither here nor there in the context of this album), the
essence of control. Fire! then, have graced their audience with a statement about maintaining control over things where
possible, but also acknowledging and relinquishing sovereignty whenever it’s impossible. Berthling understands
this, and so his bass, I think, devotes itself to creating that “gravitational pull” I mentioned previous.
Within the linear confines of an improvisational, jazz-oriented power trio, there’s nary a moment where it
can’t be described as “a dirge”. It’s a kind of molasses that’s just as good at hiding
its seething energy (Touches Me With the Tips of Wonder) as it is at completely overpowering any of Gustafsson’s
attempts to derail the conversation. In that regard, it’s like we’re listening in on a conflict between
two contradictory viewpoints, or, if you’d rather: a team-building exercise where the two are learning to
coexist. It's in keeping with the nature of improvisation, I suppose, but it’s not often one hears it
handled as well as it is here. 
To the world outside the next thirty-six minutes: I'm sorry, you just
don't exist while The Hands are at work. There’s little you can do to break the immersion, and even less you
can do to break Andreas Werliin’s stride. The drums sit behind the sax and the bass, watching from metres away as
the two intertwine and then come away covered in welts and scratches. The playing is often slow (see: patient and
composed), punctuated by clever use of the crash symbol, which -- in some instances -- just emboldens the crashing of
the songs themselves. If the percussion was as capricious as the sax, or as devilish as the bass, this fire would burn
out quickly; Werliin keeps the band contained to maximise their impact. That which is diffuse becomes limp-wristed,
ineffective. 
Writing for The Quietus, Evan Andrews perspicaciously pointed out the “fragments of
voices” littered throughout the record, postulating that, perhaps, these distant whispers were trying to warn us
“…of some imminent danger”. It’s an interesting point, spoken with greater wisdom and eloquence
than I could ever muster. But respectfully, Mr Andrews, I’d like to offer the inverse: these voices are the
danger, and this incorrigible, quivering, beautiful wall of sound is the force field that protects us, by virtue of its
mass and its ability to adapt, to reshape itself against the evil knocking at our front door. There are points where
something malicious seem poised and capable of breaking in, but upon what feels like the twentieth listen today, I can
safely report: it seems, reader, like we’re in capable Hands. - sputnikmusic.com

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