Kevin Figes third iteration in the Wallpaper Music series is quite simply superlative music played by musicians at the very top of their game.

A THIRD INSTALMENT

Here for At The Barrier, we have reviewed very positively the first two editions in the Wallpaper Music series, by Bristol based multi-instrumentalist, innovative composer, and educator Kevin Figes. You can find those reviews here: Wallpaper Music I and Wallpaper Music II. On this third instalment, Kevin has brought together again the superb set of musicians, who contributed so much to the first two albums. They are of course: Brigitte Beraha (vocals), Jim Blomfield (keyboards), Ashley John Long (bass), and Mark Whitlam (percussion).

How then to describe the music here when it is so wonderfully restless. The embrace of utterly gorgeous melodic improvisation, complex yet infectious rhythms, and outer edge experimentation, is impossible to resist. If there is one album you take a risk on this year, this should be it. Jazz, progressive rock, some of the most expressive vocals you cold hope to hear, a punk ethos, a reflective and quirky narrative, and music that just swings. It is all to be found here.

The musicians once again, for this album, returned to the residential Rockfield Studios in Monmouthshire and its relaxed rural setting; and on the evidence of this album, it continues to weave its touch of creative magic.    

AN UNOFFICIAL SUITE WITH SEVERAL DISTINCT MOVEMENTS

Let’s dive into the album with the opening sequence of Fair Weather and The Big Flood. The two tracks form a sort of unofficial suite with several distinct movements. On Fair Weather, the opening sparking piano phrases and beautifully evocative vocal convey a sense of that intense summer rain that can be followed by bright sunshine. Segueing into a stately paced saxophone led and scat singing section, where electric static and disembodied voices disrupt your attention. The short free jazz interludes bring things to an abrupt end, clearing the space for The Big Flood, which begins with a collage of analogue sounds and voices, before featuring some of the most exquisite lyrical saxophone playing Kevin Figes has delivered on record. The melodies he throws out, soar and then fall away in the most graceful of modes, and the electronic treatment of his instrument at intervals creates an other worldly feel. 

Permeating the bands funky percussive rhythms is another revelatory vocal by Brigitte Beraha, that fully inhabits Kevin Figes’ oblique yet impactful lyrics. Inspired once again, as on the earlier records, by the iconic Henry Cow, they suggest a critique of the impact of capitalism, while reflecting the personal and inner self. When Brigitte moves the vocal into another scat section, the effect is deeply moving, as her voice conveys joyous optimism tempered by sad realism. 

A FILM NOIR CINEMATIC EXPERIENCE

Modern Times with its thrash rhythms throws itself out of the speakers with abandon, as the words speak to the absolute interdependence of society on technology. Ashley John Long on bass, and Mark Whitlam on percussion, drive this piece almost to destruction, as Kevin and Brigitte duel over the top, pitching saxophone and voice into a titanic struggle. Into The Woods offers a more meditative musical setting, with Jim Blomfield’s deep piano chords creating the perfect mood. The band then bridge into a collective ambient improvisation that is marvelously left field and then some. 

The track February is a swirling vortex of sound, where the instruments and vocals have a breathless quality, as melodies are deconstructed and thrown to the wind. An exciting musical listen. I The King is very much an ensemble piece with a musical theme that vividly conjures up a film noir cinematic experience. Kevin Figes’ ironic lyrics seem to be tinged with a further reflective questioning of the values of capitalism, with of course a resonance of Dashiell Hammett. Dorian Gray’s Bathroom Cabinet is a strikingly infectious piece of music, where Jim Blomfield’s organ and Kevin Figes’ saxophone create a lovely sense of flow. The organ solo twists and turns through the pacy rhythms, and Brigitte Beraha’s vocal offers a winning application of nuance and intricacy. 

AVANT- GARDE PLAYFULNESS WITH A BOSSA NOVA LIKE GROOVE

Same Time Next Week nicely contrasts avant-garde playfulness with a bossa nova like groove, that shines a light on the creative approach of Ashley John Long and Mark Whitlam. They offer a rhythmic drive that can feel equally impulsive and understated. Strangers On A Train concludes the album, with a surreal and witty dialogue, possibly between Kevin and Brigitte, that was apparently scripted but then fell into improvisation. Against a fusion like riff, this piece is a lot of fun and clearly proved enjoyable in the recording of it.

This is a magnificent album, with conceptual and musical depth, that is a joy to explore and experience. It is also laced with a sense of fun and playfulness. An album that fully deserves the must listen tag.

You can view here the official accompanying video for Fair Weather from the album:

Kevin Figes: Website

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