THE WRONG OBJECT

5 years after the start they found the time is ripe to play their own music. None too soon. The sound is rich, the compositions are strong and sometimes even dramatic; the whole record is consistent, well arranged and doesn't have any weak parts. This, while the album is recorded live in studio, without overdubs. Or so it is said on the back cover. I must say however, there is not very much Zappa left here. Well, I have no problem with that. The music is still reasonable avant-garde, but leans more on the European examples of Henry Cow en Soft Machine, sometimes King Crimson from the Red period as well. This is the style that Chris Cutler of Henry Cow named RIO. Rock In Opposition. In that kind of rock, one will find lots of experimental jazz and quite a little rock. You will also hear in their music some influences of Brand X and the late Gong. May be it looks the most like one of the latest sprouts of the Gong family ? Gongzilla. So, this is the recipe: take Gongzilla, lessen the guitar, add sax en trumpet and you'll get The Wrong Object. An alternative: take the late Soft Machine, limit the improvisations to a justified level and make the bass-guitar a little more prominent. You've got the picture now I hope.

There is here lots of saxophone and trumpet, both leading and improvising. The electric guitar and electronics are actually more supporting, creating the framework, not dominating. However, at the end of the record, on The Unbeleivable Truth (inspired by the film by Hal Hartley of the same name?) the guitar is set loose, fantastic solo, may be a little too long. The drums playing is strong, but missing a necessary innovation, if you'd want to compare it with the work of Chris Cutler (Henry Cow) or Robert Wyatt (Soft Machine).

I hope that the reader excuses me, but I can not resist the urge to philosophize a little. There really exists such a thing as a "music-geographical spread". Let me give you just a few "music-politically" irresponsible prejudices: The best prog comes the last 10 years from Sweden. The best gothic comes as always from the Netherlands. The best jazz comes from America. The best RIO comes from Belgium. Think of Univers Zero, Humble Grumble, etc. Well, of course, this kind of non-commercial music is not really frequently made. Therefore a few individuals that play a loose and fun kind of jazz-rock can actually influence this musical geography. Another thing that influences it is the local politics. Think of free music lessons for the children in Sweden. Each second Swede plays in a (prog) rock band nowadays. Add a traditional penchant towards an alternative music (well, forget ABBA for a moment), and hence the result: lots of progressive rock in Sweden. The Wrong Object is also financially supported. There is a statement on the back cover: "This release was made possible by the support of the Communauté Française de Belgique". Further on, the record is released by the Moonjune records, a label that supports alternative music (often Soft Machine related). Moonjune is actually a good alternative to the Recommended Records of Chris Cutler, which also is a unique concept of a record company for alternative music, started by the founding father of RIO himself.

Let's say, you are on the right path, guys. Thank you very much, I enjoyed it, and hope for more!

I had the pleasure of reviewing the Elton Dean & The Wrong Object's collaboration album some weeks ago and I pointed out how similar The Soft Machine and The Wrong Object is in style back then. Elton Dean sadly passed away and The Wrong Object is on their own on this album. But still, the Soft Machine influences are there.....

This album is a Jazz/Fusion album. I would also add Canterbury Scene to the description of both the sound and the music here. This album is by no means smooth jazz or jazz as most knows it. This is jazz straight up your face. It is like being roared at by a wild boar from the distance of two inches. The music is very, very intense at times. That goes for both the woodwinds solos and the guitars solos. But the band also knows how to slow the music down at times to give the listener time to both relax and reflect.

My main gripe is the lack of any really great melodies and hooks on this album. The album is superb on technical details, but not that good on melodies and hooks. But technically, this album is very impressive and that is all there is to it. That and the raw intensity.

This is a very good album, but the band can do better and will do better next time around.

3.5 stars

Those who like their fusion to be jazz-oriented, complex and challenging should find "Live at Zappanalle 2008" to be a production catering to their tastes in a most excellent fashion. In particular if individual instrumental prowess and free form oriented wanderings is perceived as intriguing in itself. Personally I'm not that thrilled, and my appreciation of this effort will most likely be one shared by those who generally enjoy music with more of an emphasis on mood and melody.

Elton Dean joined up with the excellent musicians in The Wrong Object for this truly memorable album. Unfortunate, this was one of Elton Dean's last albums before he passed away.

Those who knows Elton Dean's work from Nucleus and in particular Soft Machine will be very happy in the company of this album. Elton Dean is improvising and soloing over the melodies laid down in the background by The Wrong Object. The band is very impressive with their light and loose playing. In particular, the under stated but still very impressive guitar licks by Michel Delville is everywhere and very impressive. They also work as a contrast to Elton Dean. It is like light and shade in the sound. Excellent stuff.

The opener Seven for Lee sets the tone and is the best track on the album. Elton Dean's improvisations is straight up your face while Delville is keeping the band tight in the background. This song makes a Soft Machine fan weep with joy. The rest of the songs is not that strong, but they are still great songs nevertheless. This album is also a surprising varied album where The Wrong Object also shines like a bright light in the darkness. The music here is also a mix of the Jazz/Fusion and Canterbury Scene. The latter one mostly due to Elton Dean.

Altogether, this is a great album and both a great farewell and a tribute to Elton Dean. This album is highly recommended to both Jazz/Fusion fans and Canterbury Scene fans.

4 stars