After "Supreme" on Utech and past works on Southern Lord and Alone, the Spanish doom metal band Orthodox are back with another instrumental/improvisational work and with the additional member Achilleas Pò on saxophone. The 27-minute improvisational suite "Κρέας" is a black hole of distortions and free tempos that is reminiscent of The Blue Humans, Rudolph Grey's "Mask Of Light", Klangmutationen's "Liturgie" on Dreamsheep Records, John Coltrane's "The Olatunji Concert" or "Ascension". Achilleas Pò's sax is a magma of inharmonic and squealing tones, while Borja Díaz & Marco Serrato (drums & bass section) are locked together and painting pure free-jazz full of rage in the vein of Milford Graves or Ornette Coleman's "Free Jazz" LP. Behind the huge wall of disembodied doom riffs, there's still enough logic and subterannean metal vibes that will slowly surface after repeated listening. One thing is for sure: Orthodox takes no prisoners and you will approve this with the sign of the horns. Mastered by Valerio Cosi, artwork made by Achilleas Pò and Dreamsheep Records over an historic image by Zakarīyā ibn Muḥammad al-Qazwīnī (‘Ajā’ib al-makhlūqāt wa-gharā’ib al-mawjūdāt - Marvels of Things Created and Miraculous Aspects of Things Existing).
‘Orthodox’ is a rather antithetical name for such a band as this one. Indeed, the Sevillan experimental doom jazz trio don’t play by the rules, and don’t like to follow traced paths. Their most recent works are a melting pot of absurdly low and distorted bass guitars and twirling saxophones playing what they call experimental doom metal influenced by religious folklore and jazz. With their latest release, the twenty-seven-minute single Κρέας (Kréas), they push the formula even further by it being a complete improvisation. There is no understatement in calling this a free jazz record, but that description alone would be incomplete. The ‘experimental’ and ‘doom’ tags complete the description quite well, however. The work of Achilleas, on saxophone, is of particular note here. Its almost-constant screeching and whistling denote an experienced player, infatigable throughout the almost half of an hour that this session lasts. The drums sound free and unhinged, but somehow locked with the bass and its fuzz. All this makes for an interesting, if exhausting, listening experience, and a great experimental improvisation track and EP. --- Dæv Tremblay (www.canthisevenbecalledmusic.com
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