|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
BALMAT 021CD
|
$16.00
PREORDER
RELEASE DATE: 5/28/2026
Laurence Pike's Possible Utopias for Jazz Quintet represents a search for freedom, potentiality -- liberatory strategies that transcend the ego and the solitary, atomized figure. But in this case, the album title is also a red herring, because there is no jazz quintet here -- just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits. And the results incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings -- including four albums for the Leaf label between 2018 and 2024 -- but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community's Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003 (FAITBACK 005LP); and even post-punk titans Liars, whom he joined in late 2018. Of his first album for Balmat, Pike says, "My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealized culture of the future, or even another world, utilize musical language when the conventions of style and marketing are no longer a factor in music making?" That inquiry, he says, connects to his "guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously." Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces, but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads. Pike's imaginary quintet is hardly without precedent; it's a continuation of concepts floated across Jan Jelinek's Loop-Finding-Jazz-Records (FAITBACK 001LP), Burnt Friedman's many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM's catalog in the late 1970s and 1980s.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BALMAT 021LP
|
$29.50
PREORDER
RELEASE DATE: 5/28/2026
LP version. Laurence Pike's Possible Utopias for Jazz Quintet represents a search for freedom, potentiality -- liberatory strategies that transcend the ego and the solitary, atomized figure. But in this case, the album title is also a red herring, because there is no jazz quintet here -- just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits. And the results incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings -- including four albums for the Leaf label between 2018 and 2024 -- but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community's Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003 (FAITBACK 005LP); and even post-punk titans Liars, whom he joined in late 2018. Of his first album for Balmat, Pike says, "My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealized culture of the future, or even another world, utilize musical language when the conventions of style and marketing are no longer a factor in music making?" That inquiry, he says, connects to his "guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously." Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces, but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads. Pike's imaginary quintet is hardly without precedent; it's a continuation of concepts floated across Jan Jelinek's Loop-Finding-Jazz-Records (FAITBACK 001LP), Burnt Friedman's many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM's catalog in the late 1970s and 1980s.
|
|
|
|