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An emotional noise and instrumental chaos like the title track “New Customers” can only come from avant-gardists in the field between jazz, new music and rock. The septet of Berlin-based pianist Mark Pringle belongs to this scene, which values Olivier Messiaen’s chamber music just as much as noise rock and synthesizer pop. According to the press release, they see their music as “criticism of capitalism, anti-consumerism, stress, burnout and excessive demands”. “Welcome to the age of burnout epidemics” sings Cansu Tanrıkulu logically in the title track over a thick, threatening sound field, for which the rough, shrill guitar sounds of Simon Jermyn are responsible, among other things. The scratchy violin by Maria Reich and the pianist Mark Pringle characterize the transition piece “Facing”, after which “Ellipse” takes us close to jazz with minimalist movements, a simmering motif and a double bass solo by Nick Dunston.
Through the jumping tones that Michaёl Attias emits from the alto saxophone and the rhythmic network of the entire band, in “The Cure Is Also The Poison” they initially approach the style of the M-Base around saxophonist Steve Coleman, which was current in the 1980s, but over time it reaches noisy, meditative, strange realms and resorts to bird song-like overlays. This septet around the Berlin-based pianist Mark Pringle really doesn’t portray a beautiful, quiet, friendly, contemplative world. The edgy, hard-to-consume album, despite its harshness, encourages you to pause and think. It was recorded in 2022 and reveals a view of a world that hasn’t gotten any better since then. However, in “Again, Almost”, “Decidere” and “Finitude”, instrumental moments that break through the surroundings with contrasting contrasts also suggest a vague longing for an escape from the dystopian social image created by the members.
Werner Boots,
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