for those brave enough to dip their toe in the water an exhilarating listen falling just short of sensory overload awaits.
Available from Bandcamp
Thomas Backman (Reeds); Josefine Lindstrand (Vocals & piano); Cecilia Linné (Cello) David Lindvall (Electric bass, synthesizers); Martin Öhman (Drums, drum machines, electronics)
Additional musicians:
Eze Jackson: Rap on track 1 & 7
Tomas Ebrelius: Violins & viola on track 1 & 3
Magnus Wiklund: Trombone on track 1 & 3
Lena Swanberg, Anton Forsberg, Jakob Sollevi & Josefine Lindstrand: Choir on track 5
Lyrics track 1 by Emily Dickinson & Eze Jackson, 3, 4 & 6 by Josefine Lindstrand, 7 by Eze Jackson
Recorded at Studio Paasund, Stockholm 15-16 February 2024
Additional recordings in some places in Stockholm, Baltimore and Kristinehamn March-May 2024.
Blending acoustic instruments with a whole host of electronic synthesizers and other gadgetry, Swedish reeds player Thomas Backman has created quite an unusual ensemble.
With a fondness for strong basslines and steady beats you would be hard pushed to think that this is the place for straight ahead swing, and you would be right. With the use of cello, trombone and a rapper in the mix, you may also be starting to feel a little confused.
Backman is nothing if not eclectic in his use of musical devices and influences. Nothing seems to be outside the box, and he must enjoy reading what the critics have to say when trying to put a label on his music with phrases such as “crime jazz” and “chamber pop” (whatever that might be!).
Rather than label that is almost uncategorisable, why bother? Why not just listen and absorb the sounds as they are created, and if there are classical influences, a hint of free jazz and a fleetingly glimpse of bebop then it is all part of Backman’s rich tapestry of electronic, beat laden and acoustic vocabulary.
As with any vocabulary and language it is how you use that is important. Here Backman ingeniously works rap, the poetry of Emily Dckinson alongside a clever use of synths and strings on ‘I shall but drink the more’ to produce a unique assault on the senses. A concept that is further cemented on ‘Scherzo Demoniaco’ that introduces Backman’s angular phrases on alto saxophone before easing into his improvised solo.
Creating a superb contrast to the beat laden compositions, Backman almost takes an opposite approach with ‘State of day’, a beautifully arranged instrumental piece for piano, clarinet and strings with a small choir making an appearance in the latter art of the performance. This more reflective aspect of Backman’s work is also featured in ‘Har Vi Lämnat’ that begins as a ballad over a gentle electronic backdrop featuring the vocals of Josefine Linstrand and the leader’s lyrical flute before morphing into a lively groove.
It can therefore be bit of a jolt when plunged back a strong beat and bassline with wordless vocals this time from Linstrand and big booting baritone saxophone solo, but for those brave enough to dip their toe in the water an exhilarating listen falling just short of sensory overload awaits.
