A masterful performance by one of Australia’s most innovative improvisational groups, deftly moulding sonic textures to create a powerful visual palette and emotional affect.
The high intensity episodes at the Basement veered more towards the material on the group’s 2011 release Mindset, with the driving rhythms of Tony Buck on drums/percussion and Lloyd Swandon on double bass underpinning Chris Abrahams’ improvisations on the grand piano. The scaling up the tremolo chords, followed then by ominous descents was reminiscent of the surging pulses of ‘Rum Jungle’ on that record.
While there is a guiding structure, The Necks always modulate their sets whilst playing, improvising with moods and tempo, guided by the dynamics of the group. The effect on the listener is by turns intoxicating, repelling, lulling and at times anxiety-inducing. The power and intensity of the sound wall created in the crescendo of this performance was towering, and matched in the duration through which the trio sustained it.
Having released their debut record Sex over 20 years ago, and announcing recently its re-release, The Necks have weathered a volley of labels and comparisons over their career, emerging largely unscathed by the imperative to categorise their compositions/improvisations. There are mentions of Miles Davis’ electric experiments, the sonic landscapes of Brian Eno and Robert Fripp, right through to Coltrane’s later work, and progressive Krautrockers such as Neu! or Can. What can be said without much quibbling is that they project a unique voice in the post-jazz improvisation scene.
Abrahams and Buck are both heavily involved in the experimental/improvisation scene in Australia, with Abrahams having recently performed solo at the annual festival of exploratory and experimental music, The Now Now, in Sydney. Having been lucky enough to hear that performance, it was made clear that his trajectory in that musical space informs, while not dominating, his playing as part of The Necks. While the group’s material isn’t quite as avant-garde as Abrahams’ other experiments, there is still an elegance and sophistication in the transformations of grooves and textures as the set develops sonically.
It was a shame that some in the audience seemed much more interested in the wine offered and in their conversations than the two luscious sets they could have been treated to had they listened properly. Perhaps the Basement should employ a talking monitor to enforce full attention – this music certainly deserves it. Also, they should inform the audience of the exact playing time of the bands on their marketing material, as this was hard to discern and involved hours of waiting around.
Rating: 4 ½ stars out of 5
The Necks
Live at the Basement, Sydney
13 February
Additional dates:
VIC: Castlemaine Festival, 22 March
ACT: The Street Theatre, 23 March
