Since 2014, Norway's
Krokofant trio have blasted across the improvisational landscape of European avant jazz-rock. Each of their previous recordings have intersected the savage energy of free electric jazz (think
Last Exit), prog heaviness (à la
National Health,
Soft Machine, etc.), and riff-laden hard rock and metal. Guitarist Tom Hasslan, saxophonist Jørgen Mathisen, and drummer Axel Skalstad have collaborated on-stage with other musicians in the past, among them, keyboard player
Ståle Storløkken (
Supersilent,
Elephant9) and bassist
Ingebrigt Håker Flaten (
the Thing,
Scorch Trio). Hasslan felt his writing and playing would be well served by adding instrumentalists in order to expand
Krokofant's sonic canvas. Given the live rapport that existed with the aforementioned pair, they were recruited for
Q, a four-part, eponymously titled suite.
Håker Flaten switches to electric bass exclusively here, while Storløkken serves on Hammond B-3 organ. "Q1" commences with Skalstad at double time, joined shortly by Hasslan and the organist delivering syncopated power chords before Mathisen and Hasslan articulate a sparse yet pronounced melody. An intense, knotty group vamp led by sax and guitar fracture it, and open the stargate for Hasslan's solo, which melds spacy psychedelia and knife-edged arpeggios. For over 13 minutes, various pairings occur before the quintet returns, grinding it home with bone-crunching riffs.
Krokofant initiates "Q2" with syncopated, funky tom-toms and single-note organ runs to introduce the ensemble. When they join, the whole band immediately spirals and spikes in jerky stop-and-start phrases that recall
Van Der Graff Generator. Dynamics shift as Storløkken's organ solo becomes contemplative, exploring minor keys and EFX-laden overtones. At six-and-a-half minutes, the shortest cut here is the most "songlike" on the date. A nocturnal pastoral introduces "Q3," with a sparse saxophone melody and fingerpicked electric guitar. The drums and organ waft in and soon introduce the rockist frame that claims the jam's body. A prog crescendo introduces Hasslan's spiky solo. Eventually, atmospheric, nearly ambient passages and skronky, free jazz sequences battle one another before it all commingles and ratchets back down. "Q4" is framed in interlocking riffs between the rhythm section on the one hand and the sax/guitar on the other. The tempo increases before the band returns as one with mutated melody lines. Storløkken's solo channels the physicality of
Jon Lord, the harmonic invention of
Mike Ratledge, and the athleticism of
Keith Emerson. Mathisen's horn calls the band to him and leads them down an exploratory rabbit hole before ushering in an overdriven prog metal finale.
Q's individual parts can be listened to with satisfying results, but taken in its exhaustive whole, it becomes nearly peerless in inspiration, musicality, and breathless visceral presentation.
Q is easily
Krokofant's finest moment thus far. ~ Thom Jurek