Posts Tagged ‘Gentle Persuaders’

Love Love Records – 26th April 2019 – LOVLP03

Christopher Nsnibor

However you remember Sly and the Family Drone, whatever your past experience, and whatever you may expect, the reality of each new entry in their catalogue brings something slightly different.

My first encounter with them was in a live setting, and I was left reeling with images of a bloke in boxer shorts pummelling drums and getting half the audience to join in. I remember noise, rhythms and chaos. Various YouTube footage confirms this is pretty much representative.

All of those elements are present on their studio recordings, but in different measures. It works: it’s a different medium. And moreover, each release reflects an evolution, usually a subtle but nevertheless key shift. And so it is on Gentle Persuaders, the collective who describe themselves as a ‘neo-noise-jazz outfit’ (one suspects that as apt as the description is, there’s an element of tongue-in-cheek here, just as their absurdist track titles aren’t entirely straight-faced) ‘vomit forth a smooth serving of curious and clattering noise not devoid of fun’.

Smooth is perhaps one thing it isn’t, and for that we should all try and be grateful. Challenging, angular, tonally and structurally abrasive, Gentle Persuaders finds Matt Cargill and co. playing to their ever-growing strengths.

The album opens in suitably uncompromising style, with the longest of the four compositions, the fourteen-minute ‘Heaven’s Gate Dog Agility’. It takes its time to get going, and with minimal instrumentation save for elongated sax drones, it has something of a sparse, free jazz feel. The percussion is restrained, distant, muted, and the emphasis seems to be on atmosphere, and – so it would seem at this stage – musicianship. But by the mid-point the drums are full-blooded, and the sax is battling amidst a barrelling wall of extraneous noise. The closing minutes find the rare emergence of an overt structure, a form, with repetition and a coalescence of sound that could almost be mistaken for a tune.

Crashing, head-blasting industrial beats worthy of Test Dept or perhaps reminiscent of Revolting Cocks’ ‘Beers, Steers & Queers’ shatter the air on ‘New Free Spirits Falconry & Horsemanship’. And they continue to pound away for the duration, while the sax screeching becomes ever more strangled and frenzied.

‘Votive Offerings’ ventures into murky, dark ambient territory, and reveals glimmering flickers of light shifting amidst the shadows of sombre drones and unsettling incidentals. It’s a mosaic of fragments: forms start to emerge, solid rhythms kick in, only to halt after a few bars, and if it’s jazz with noise, it’s jazz with noise penned as a soundtrack to the fragmented hallucinatory anti-narrative of Naked Lunch.

It’s this change of mood that renders the finale all the more impactful: beginning stark, sparse, eerie, with single notes ringing out into a sea of black echo and swampy low undercurrents, the spectacularly punny (and so very typical) ‘Jehovah’s Wetness’, a low-end bass grind begins to build the foundations of a swirling sludge-trudge climax. It’s not gentle, but it’s extremely persuasive.

AA

Gentle Persuaders

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