The opening tracks (particularly the extended track 'Premonition') are delightful improvisations. I imagine these would be enjoyed by most fans of their previous recordings. However the final few tracks are sonically challenging experimentalia - interesting to hear at least once perhaps, but not music that I would particularly rush to return to.
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fading made preludium
30 seconds of blissfully quiet piano before grinding, crashing
godspeed-esque noise and chaos, electric bass flanged and feeding back
like a guitar for the next three minutes
tuesday wonderland
repetitive, kraut-ey piano riff, almost like life's what you make it
by talk talk, bass drops in, other piano layers and twirls dance
around skittish drums simple acoustic bass patterns at deceptive
speed. glacial concentric circles and swirls
the goldhearted miner
twanging acoustic strings give way to piano and slow, sweeping drum
brushes, occasionally the twanging strings re-emerge as a motif.
autumnal, balladic, falling leaves, frosty paygrounds
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If you're searching for pure trio Jazz, EST may not be what you're looking for. There are no gigantic solo's or battling ego's going on, most of the time it's the great sound of good ensemble-playing and in that there are no passengers in this trio. Dan Berglund is a lyrical, steady bass-player, Magnus Ostrum is a fast and subtle drummer and Esbjorn Svensson seems to mix a classical style of playing with parts of Bill Evans and Chick Corea. And, of course, there's the use of distorting filters, synths and effect pedals. EST doesn't seem to find the balance here yet between the traditional and 'modern' stuff (their next two cd are just right in that respect), but the melodies and lyricism are there; esp. ïn ... Read More:
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fading made preludium
30 seconds of blissfully quiet piano before grinding, crashing
godspeed-esque noise and chaos, electric bass flanged and feeding back
like a guitar for the next three minutes
tuesday wonderland
repetitive, kraut-ey piano riff, almost like life's what you make it
by talk talk, bass drops in, other piano layers and twirls dance
around skittish drums simple acoustic bass patterns at deceptive
speed. glacial concentric circles and swirls
the goldhearted miner
twanging acoustic strings give way to piano and slow, sweeping drum
brushes, occasionally the twanging strings re-emerge as a motif.
autumnal, balladic, falling leaves, frosty paygrounds
fading made preludium
30 seconds of blissfully quiet piano before grinding, crashing
godspeed-esque noise and chaos, electric bass flanged and feeding back
like a guitar for the next three minutes
tuesday wonderland
repetitive, kraut-ey piano riff, almost like life's what you make it
by talk talk, bass drops in, other piano layers and twirls dance
around skittish drums simple acoustic bass patterns at deceptive
speed. glacial concentric circles and swirls
the goldhearted miner
twanging acoustic strings give way to piano and slow, sweeping drum
brushes, occasionally the twanging strings re-emerge as a motif.
autumnal, balladic, falling leaves, frosty paygrounds
EST in my view are the best piano trio in the world right now. Their music is constantly engaging and thrilling and this album is no exception. Highlights are the title track and Table/Fable, the one being a gorgeous and mellow concoction with chords which could have come from Faure or Poulenc, the other a real emotional rollercoaster, like a furious storm on a Summer's day. Elsewhere the tracks do not always reach the heights but are trademark EST: virtuosic, surprising and great to listen to.
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If you want a good starting point in the world of EST (or trio-jazz, for that matter), this may be it! The sounds, grooves and themes are very diverse; from the country-gospel of 'Believe, beleft, below'(even sounds a little bit like Floyd Kramer at some points)to the jungle of 'Did they ever tell Cousteau'. Absolute highpoint is the exstatic 'Elevation of Love'with an almost scary bass-solo. It has been said before; there may be 'faster' pianists, and technically more advanced drummers or bassists, but the interplay between the band-members is in a legue of their own!
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If you want a good starting point in the world of EST (or trio-jazz, for that matter), this may be it! The sounds, grooves and themes are very diverse; from the country-gospel of 'Believe, beleft, below'(even sounds a little bit like Floyd Kramer at some points)to the jungle of 'Did they ever tell Cousteau'. Absolute highpoint is the exstatic 'Elevation of Love'with an almost scary bass-solo. It has been said before; there may be 'faster' pianists, and technically more advanced drummers or bassists, but the interplay between the band-members is in a legue of their own!
>>More Details
If you want a good starting point in the world of EST (or trio-jazz, for that matter), this may be it! The sounds, grooves and themes are very diverse; from the country-gospel of 'Believe, beleft, below'(even sounds a little bit like Floyd Kramer at some points)to the jungle of 'Did they ever tell Cousteau'. Absolute highpoint is the exstatic 'Elevation of Love'with an almost scary bass-solo. It has been said before; there may be 'faster' pianists, and technically more advanced drummers or bassists, but the interplay between the band-members is in a legue of their own!
>>More Details
If you want a good starting point in the world of EST (or trio-jazz, for that matter), this may be it! The sounds, grooves and themes are very diverse; from the country-gospel of 'Believe, beleft, below'(even sounds a little bit like Floyd Kramer at some points)to the jungle of 'Did they ever tell Cousteau'. Absolute highpoint is the exstatic 'Elevation of Love'with an almost scary bass-solo. It has been said before; there may be 'faster' pianists, and technically more advanced drummers or bassists, but the interplay between the band-members is in a legue of their own!
>>More Details