Album number eight for this Norwegian instrumental project led by the Broter brothers (nice wordplay) ,Oystein on the keyboards and drummer/multi-instrumentalist Arild, who since 2011 have always surrounded themselves with la crème de la crème guest performers from their homeland. The days of constantly rotating the line up are gone, Pymlico has now a stable crew, unchanged from their 2022 “Supermassive” album, surely explaining this release’s title “Core” , thus reducing any dependence on outside players. The dual guitars is always an interesting option and can be most rewarding when perfectly in sync (Wishbone Ash, Allman Brothers, Iron Maiden to name but a few) and veteran slingers Stephan Hvinden and Andreas Sjo Engen put up quite the sensory display, egged on by bassist Are Nerland and saxophone maestro Robin Havem Lovoy, the latter bringing a jazzy wallop to the proceedings. Percussionist Oda Rydning completes the band both in studio and in live settings. Eight tracks of sonic exploration, cool grooves and expert soloing, all wrapped up in a production package that is as crisp as the winter air in Kirkenes.
From the onset of “Welcome Back”, the spinal cord is formed with a rhythmic drum and piano alliance that evolves into a rambunctious groovy melody, boldly expressed by a saxophone that exudes warmth and passion. The shuffling guitars establish the ‘core’ riff , only to settle into a bass-led pool of jazzy introspection that breathes ultimate cool, if you enjoy good sax, you will get off big time. Fresh, happy and ultimately engaging, this is indeed a very friendly opener.
Get the motor running, head up on the highway with the initially chugging “Ellipsis”, veering into tight turns of relaxed disposition, even jazzier than before, only to kick into overdrive as the band reaches the next straightaway. Like a Saab turbo on a Nordic highway, the journey evolves constantly, according to the ever-changing geography. The electric guitar gets its time in the sun, a bluesy valley of emotional sustenance before pushing the throttle one more time. The outro is symphonic bombast , howling mellotrons over the horizon, thundering percussive motoring , right up to the checkered flag.
The mood becomes appropriately raw and beastly on “Captain Teebs”, where a raucous , loud and proud rocker, with the scorching dual guitars carve up quite the ‘supermassive’ arrangement. Not for the faint hearted, as both Hvinden and Engen rip the velvet curtain to shreds. Another, but different welcome.
Back to a more experimental heavy-jazz feel on “Fair Play”, as the band showcases their innate technical chops, with a barrage of instrumental prowess from all members, with all the habitual respect for contrasts and ebb and flow, an other-worldly saxophone foray that reaches for the polar auroras one can experience in the far north. Complex, polyrhythmic and lightning fast.
Heightening the mature dynamics already displayed, “Don’t Do That” is exactly what they do so well, a team effort collective that paints the music in the air, grooving when in need of direction, soloing wherever it is warranted , the echoing Lovoy brass bandit doing wonders for the sound as it’s the instrument that is the closest to a voice. The electronic keyboard mid-section is properly trance-like, the foundation on which both guitarists can forge new pathways, scorching along at breakneck intensity. Nerland ‘s bad ass bass keeps things nice and tight.
My favorite track is definitely “Point Nemo”, as it advocates an imaginary movie soundtrack, a mystery or even a 007-like scenario that follows some protagonist in the quest for a solution to a problem, the main melody being both inquisitive and playful. Arild (whose Bond homage album is a masterpiece) syncopates with the best of them, as he reignites the pace, the Aston Martin guitars racing into overdrive once again (DB7 perhaps) and the saxophone rekindling images of an olive in a martini glass.
The lengthiest track presented is the 8 minute “221B”, the highlight showstopper being the percolating percussives that carpet a majestic sax intrusion, recalling Pierre Moerlin and Didier Malherbe in vintage Gong, the impression furthered by cosmic synthesizer colorations and a well lubricated bass line, this is another winning excursion. When the entire crew kick in as one, the overpowering stateliness of this ensemble comes to the front of the stage, the choir finale a killer ending. A grandiose masterpiece that follows the previous piece perfectly.
Polishing off every last morsel of inspiration, the sublime “Done and Dusted” is surely the ideal title to bring down the velvet curtain on an exemplary performance. A dreamy electronic lullaby, showing off an astute sensibility, as well as pacing awareness, a direct and loving pinch into the core of the heart, where the spirit lies pristine. The tingling guitar solo is an effortlessly aerial caress, deeply romantic and heartfelt, as it grows in both volume and intensity. Utterly gorgeous, and surely a concert highlight as an encore perhaps.
Another excellent release from these talented musicians from Norge!
4.5 hubs
