Kioku
are quite the special entity when it comes to jazz. Deftly fusing
Eastern percussion with electronic trickery and working it into
a Western jazz aesthetic, the New York trio carve out a unique
sound that brims with passion and is delivered with electrifying
energy. Consisting of Wynn Yamami (taiko and percussion), Christopher
Ariza (live electronics), and Ali Sakkal (saxophones), Kioku engage
in a 1 hour workout split across 6 tracks. As you press play,
deep percussive resonance immediately unleashes to provide an
energetic backbone to constantly transforming sheets of electronic
waft and a free-sax wail. The percussive range is impressive,
utilising deep bass drums which explode intermittently like bombs
amongst cacophonous ringing bells and sharper snare-like clusters.
Each of the three elements (percussion, electronics, saxophone)
take it in turns to lead the proceedings leading to a varied soundscape
which is brimming with dark futurism yet rooted in a traditional
aesthetic.
‘Yatai
Bayashi’ sees the trio take on John Coltrane’s ‘The
Drum Thing’ in a highly ambitious effort that see’s
his melancholy melodies placed in a mutant setting of spacious
percussion with the muted mallet, cymbals and gongs pounding like
they are on military duty. Towards the end of the piece, Yamami
lets out a series of yelps known as ‘kakegoe’ before
drums morph into precision electronic beats that shift across
the soundscape like fast-moving alien insects exploring a new,
lucrative terrain. After the hammering of previous tracks, the
tribal percussion takes on a more muted role in ‘The Drum
Thing’ with drawn-out ‘rainy New York night’
Sax melodies and deep wallowing bass motifs. A similar approach
is initially undertaken on ‘Miyake’ with flailing
Sax melodies sitting atop of hostile atmospheric skree. A bout
of percussive rustling then flares out to hypnotic effect, accompanied
by electronic beats which are difficult to decipher from the boisterous
percussion.
Throughout
the album, the tribal percussion creates a turbulent terrain which
is fraught with intricacies both in terms of arrangement as well
the contrast between low-end and treble heavy sounds. When electronic
‘beatscapes’ are intertwined into the mix, it adds
a unique dimension to the sound and makes ones mind go into overdrive
trying to decipher which sounds are natural and which are manipulated.
Comparisons with HiM and Chicago Underground are inevitable as
both groups fuse electronics with free-jazz to great effect but
the electrifying tribal flair of Kioku makes them occupy a new
and exciting space within the jazz locale. Thoroughly recommended.
(KS)
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