Three years since already passed since I had the pleasure to review Melt Trio‘s 2nd album called Hymnolia. I liked it a lot and kept going back to it and listen to as nothing newer was available around to listen to until now. The band however didn’t go to sleep and kept polishing their skills by constantly touring as well as being involved in numerous collaborations with Jan Bang, Tony Malaby, John Hollenbeck, Theo Blackman or Jim Black alike.
All this resulted in much more confidence and synergy to become audible in the latest Trio’s outcome. They always had a strong sense of the direction in which they are going to and it remains valid even more now. Saying that they possess immediately recognisable sound would be kind of trivial as they already had it on the first date. But something definitely had been changed in group’s general sonic universe. The most noble thing is that their sound gained more integrity. It became so smooth and organic that the listener almost forgets to notice the electronics involved in a performance. They merged their acoustic sound with all layers of electronica into one single coherent image.
It is audible from the opening Crescending, where as per title two guitars and drummer keep dialoguing in repetitive circles. Until the crescendos reach their climax and can be re set and repeated over and over again. Dangerously titled Cassandra Complex finds crescending circles glittering in the air with some tension realise moments appearing but no disastrous brake. Congo Square brakes this hypnotic invocation introducing some percussion patterns which are starting to challenge so far so smooth galactic journey and some nebulous sound from both electronically tweaked guitars are starting to contradict this new order in return.
Hybris I is a show off for drummer skills here. He can clearly demonstrate how his fragile percussive framework makes a trellis for both guitars to climb up unspoiled. On contrary Hybris II, starting with much more disturbing patterns is showing both guitarists ability for trap avoiding. Smooth outro makes a gentle bridge to title Stroy. Here the subject comes to the shape from under the gentle touches of all the musicians. A title intending to mean an opposite to destroy, so The Stroy is shown as a creative element in this word play.
On this recording I can not find any trace of nervous interaction, or if you wish more rock style like harshness, where on the previous one’s such a shifts are a part of their style yet. It looks like the Trio developed a completely new own language with all the ingredients being present and if one is to look inside carefully you never get this being noticeably thrown straight at you. Also the function of both guitars became less formal. Bass is not just holding the grip only any more, but often takes a lead leaving the guitar behind or going hand in hand with it together.
The Heiliger Dankgesang, closing this recording is matching the mood of the whole recording despite of the fact it is based on excerpts from 3rd movement of Beethoven String Quartet N.15. Without this fact being indicated it would be difficult to spot. That once more shows how Melt Trio’s melting skills vastly increased during these past three years only.