KROKOFANT

I have often said that a trio is my favourite band format as there is absolutely nowhere to hide, yet it must be said this also sounds like a quartet, given the importance of bass and some Organ. Putting that to one side and wondering just how they replicate it as a trio, this is one heck of an introduction to Krokofant, who are new to me. It is dynamic, powerful, tight as can be imagined, and while there are a few moments which sound as if the band are having a jam, there is plenty more which has obviously been deeply rehearsed given the way the different musicians are locked in for the runs. There is something special about those who have worked together for so long that they have a sixth sense about what they want to achieve and trust everyone implicitly and that is definitely what we have here.

When they wish they can be raw and powering, using distortion as a friend, at others very clean indeed, and Skalstad never stops working, creating a battery of sounds for either Hasslan or Mathisen to bounce against. There is a huge depth to the sound which makes me wish I was playing this on vinyl as opposed to digitally as this is music designed for the richer format. It is jazz inspired progressive rock which has been thrown back fifty years and is all the better for it. All power to Is it Jazz? Records as this is a great album and I look forward to discovering their others.

"Harry Davidson" starts the record off; immediately, I notice not only great saxophone and guitar work, but also a punch that permeates most of the record. As five out of the six tracks have great guitar solos, I will not mention them any further, but they are all killer. A favorite on the album is in the "sophomore slot"? "Triple Dad" (what kind of title is that?)?which starts off with a traditional jazz intro, albeit on electric instruments, before going full on fusion. There is a great sax solo and very intricate drumming on this track. "Oh My Cod" is a frantic tune (both of the "side closers" are) with a cool atmospheric middle section before returning to the original tune for the ending.

"Country Doom" opens up the second half with a catchy bass line. Perhaps it runs a bit too long, but it's still one of my favorites. "The Ballade" is the only moderately slow cut on here, and it's also the most atmospheric, with spacey synth sounds throughout the track. The closer, "Pretentious Woman", has my favorite tune of any track on the album; the solos are a bit on the lighter side compared to some of the other tracks, but it makes the return of the tune even more enjoyable.

This is a fusion album, but the prog rock influence is clear. I hear a lot of Canterbury prog in this, particularly early Soft Machine, and I also hear lots of Coltrane and other classic jazz in this record as well. If Krokofant 6 is any indicator, I think we're in for a good 2025 (for fusion).

Adding two musicians of their quality is such a great move by this band but also the guitarist relates that this is their most written album yet. Everything including the solos is done with intent, whereas in the past they always combined the composed with the improvised. The liner notes are done by David Fricke and what a wonderful read it is. He relays that he feels the more explosive parts on this album are like early seventies Miles Davis and MAHAVISHNU ORCHESTRA along with late sixties Ornette Coleman groups. And also the avant leanings of "Third" and "Fourth" by SOFT MACHINE and the 73/74 KING CRIMSON.

Fricke says that Flaten mentioned to the band he wouldn't mind playing with them. He didn't have to ask twice. The guitarist describes this album as being "...like Jazz in the sense that you play the theme, and each of the guys gets a solo, taking a different path. Then a riff sneaks in, we play around with that, and it builds to the climax." Just under 44 minutes we get three long tracks along with that second 6 1/2 minute one that is my favourite although the third song is right there too. This is consistent and challenging. So rewarding and innovative like 8 minutes into that second track. It's the emotion on that second tune that draws me in and it's something I've not felt before with this band. Some Rypdal sounding guitar on the opener before 4 minutes.

The music here isn't as difficult as the first two, more melodic for sure but still challenging. I just really looked forward to spinning "Q" each time it came up.

"Tommy Synth" opens with guitar and some insane drum work. The sax kicks in before 1 1/2 minutes playing over top and it will get dissonant as the drummer continues his workout. Man he's good! The sax stops after 3 1/2 minutes as we get this amazing calm with sounds coming and going. So good! The guitar then starts to become prominent as the drums pound away. Check out the guitar 5 minutes in. So impressive then the sax returns 7 1/2 minutes in to end it.

"Clazz" starts with sax and drums and they will dominate the sound here until the sax steps aside before 2 1/2 minutes and the guitar jumps in. Love that guitar! The sax is back around 5 minutes and the drummer has not stopped yet.

"Juice" is my least favourite. Not into that catchy melody at all and the sax creates some challenges for me here. It's dissonant before 5 minutes. Yikes!

Double Dad" opens with sax and some insane drum work. A heavier sound 2 minutes in as the sax stops and the guitar comes to the fore. It settles back as the guitar becomes more of the focus, background synths as well. Love the guitar work that follows then the sax returns late to end it.

"Wrong Turn" opens with honking sax and drums then it settles before 2 1/2 minutes with growly sounds, sparse drumming and more. Love this! Check out the guitar expressions. More please! The guitar is lighting it up in a huge way and check it out before 7 minutes. Oh my! The sax is back 7 1/2 minutes in as the drums pound away without mercy.

I prefer this one and the debut which is hair raising music to say the least. What I like about this third album is that while the sax creates some issues for me at times there's always something that leaves me really impressed about each song, well except for "Juice". Patience is the key. Great album!

"C.O.T.A." hits the ground running with honking sax and drums. Soon a sax melody arrives that I'm not that into. Contrasts continue until just before 3 1/2 minutes when it calms right down with drums only then some bluesy guitar arrives that soon changes to a complex style as the drums pound away. The sax is back before 6 1/2 minutes replacing the guitar to the end.

"Sail Ahead" is another uptempo number with sax and drums leading the way. It settles just before 2 minutes then the sax turns dissonant after 3 1/2 minutes. Sax only a minute later but not for long as the drums come rumbling in. "Nieu" opens with the guitar and sax ripping it up. A very interesting sound here as it is very avant sounding. The sax becomes melodic after 1 1/2 minutes as the guitar is replaced by the drums. Some crazy sax before 5 1/2 minutes.

"The Ship" is led by sax and drums to begin with and the sax gets pretty creative at times. A calm before 5 minutes with drums only then the guitar starts to solo. Just a shred-fest after 6 minutes then the sax is back late. "Snake Dog" is my favourite song on here. I just like that intro with guitar and drums that is repeated throughout. It's contrasted with a section that includes dissonant sax and those passages dominate. Guitar, sax and drums all let their hair down after 4 minutes. What a display! Themes are repeated.

"Watchtower" is uptempo with sax and drums to start. It settles after a minute as the guitar replaces the sax. And the guitar is just bonkers here as he lights up the soundscape until the sax returns after 4 minutes.

I feel the same way about their debut as I do KAYO DOT's "Choirs Of The Eye". I'm just not worthy to hear such complexity and "out there" music and no it's not all good(haha). But this sophomore album while tamer is still very avant and difficult but I'm just not nearly as impressed. So 3 stars it is.

"Polyfant" opens with these strange and unsettling guitar sounds( I believe) then the drums, guitar and sax kick in. Check out the insane sax after 3 1/2 minutes. Not worthy! "Supermann" has this precise and intricate interplay that is relentless until it all settles back before 2 1/2 minutes as we get random drum patterns along with the sax soloing over top in a dissonant way. "Bodega" impresses me with the low end sounding guitar as the drums rumble and the sax rips it up over top. A calm after 3 1/2 minutes which is welcomed at this point(haha) then the guitar and drums seem to feed off one another, so good! The guitar is lighting it up before 6 1/2 minutes then the sax returns just before 7 minutes and a minute later he's killing it.

The sax at the start of "Thispair" reminds me of "Islands" by KING CRIMSON. The guitar is digging deep and the drums seem to follow his lead. The sax gives way to the guitar briefly and when the sax returns it reminds me of KRAAN. "Ejs" is a short uptempo track where the guitar raises hell throughout. "Castaway" is the most laid back piece and the longest at over 12 1/2 minutes. Shades of MAHAVISHNU ORCHESTRA can be heard here as the tension is never released. A calm 3 minutes in as we get some atmosphere as sounds come and go. This is a beautiful section. It's building and the sax turns dissonant 9 1/2 minutes in. Incredible! Love the drumming over the final minute.

There should be some sort of a warning sticker on this album but once again the nation of Norway has blessed us with some very talented musicians who have come up with a recording that is both powerful and innovative. A solid 4 stars.