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Blast — A Sophisticated Face
(Cuneiform Rune 125, 1999, CD)

A Sophisticated Face Cover art

Often when record shopping, people tend to think the description “chamber-prog” is a synonym for “sounds like Univers Zero,” which I think is a grave error. Don’t get me wrong, I love my UZ, but I think such reductionism does a great disservice to bands such as Blast. This Dutch ensemble fairly bursts out on A Sophisticated Face with a bright, brassy sound that features some occasionally obvious influences, but weaves them into an excitingly original sonic tapestry. The group is a five piece of two reeds players plus guitars, bass, and percussion; and I truly do mean “percussion.” While trap drums are present, they’re scarcely used in a linear “rock” fashion, more as percussive accents as in orchestral music, and in tandem with temple blocks and other tuned percussion instruments. Five guest players contribute heavily to the sound, incorporating strings, brass, and more percussion. I’m reminded of New York’s Ordinaires at times, due to the mixture of reeds and brass with strings... though it’s clear that Blast come from a European tradition (though it’s also clear both groups took their original cues from composers like Bartók and Schoenberg). And while the guitar reminds me of Fred Frith more than anyone else, some of the more abstract, “classical” sounding pieces bring Zappa to mind. It’s not so much the incorporation of marimba and like instruments as the whole compositional style. Tracks like “Transmotude” really do sound almost interchangeable with some of Zappa’s classical dalliances with, for example, Yellow Shark. But for all the wearing of influences on their sleeves, Blast are clearly a band dedicated to smashing down barriers and trying out new ideas. Which is as it should be.

by Mike Ohman, Published 2000-05-01

Blast may be the most exciting and talented chamber-jazz band since Henry Cow and Frank Zappa’s mid-70s work. A Sophisticated Face, their fourth release, finds them even bolder than their already bold prior work. Essentially a Dutch five-piece of electric guitar, multiple reeds, bass, and orchestral percussion (plus several guests on horns and strings), Blast makes complex, RIO / Zappa inflected music that resembles modern jazz or orchestral music more than it does rock. I also have their second album, Wire Stitched Ears, which has more obvious references to Henry Cow, and which is more of a “rock” outing (or at least jazz rock) in that it centers around a driving rhythm section. Now, however, Blast has truly matured in both performance and composition. Their pieces are now (unlike before) at times achingly beautiful in their inventive use of harmony and dynamics, having shed almost all traces of rock rhythms. Ever heard Zappa’s “Naval Aviation in Art” or “Pedro’s Dowry”? That’s the league we’re talking about here. Art Zoyd comes close to doing this kind of thing, but for some reason Art Zoyd never really caught my ear like these guys do. I see Zoyd as more somber and mathematical, while Blast injects a wicked playfulness into every passage. Every twist and turn on A Sophisticated Face leads to a new fascinating variation on a theme, whether the song is two minutes long or eight. True, this is challenging music, and I had to listen to it many times before I could comfortably write this review. Fans of this peculiar genre (like myself) have probably already heard of this band, and may have just been waiting to hear for certain whether or not they’re for real. Well, they are. End of story.

by Steve Robey, Published 2000-05-01

Filed under: New releases, Issue 19, 1999 releases

Related artist(s): Blast / Blast4tet, Frank Crijns, Dirk Bruinsma

More info
http://cuneiformrecords.bandcamp.com/album/a-sophisticated-face

 

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