Performer: Phlox
Label: MKDK Records
Release: 2007
Duration: 50:31
Rating: 4.5/5
What do you get when you mix a free jazz soul, teenage rock abandon, and the melodic wit of the Canterbury music scene? Phlox! This Estonian jazz fusion innovation is a real explosion of insane sonic patterns and melodic chaos, born out of clear-eyed improvisation. The six-piece, all seasoned musicians (“rebimine + voltimine” is already their third album), has more than enough musical imagination to easily outclass the average acts on today’s jazz fusion scene, the ones sticking to the “tried and true” formula where a distorted guitar leads the way and the other instruments are shoved way back as backdrop (the term “metal bug” is increasingly used for today’s new bands who only look to Dream Theater and noodling madly up and down scales, often at the expense of melody). Saxophone ace Kalle Klein, the band’s mastermind, is certainly a big help here. His take on music leads the group into long-forgotten corners of jazz and fusion. Thanks to him, the music reaches a level where monotony is simply impossible. Despite the common thread, there are far too many melodic twists, with the musicians leaping from free jazz to almost noise rock, wading into Canterbury waters, only to be carried by the current into African and Asian rhythms. Phlox’s music is, to put it mildly, lively.
Phlox hinted at everything described above on their first two albums, but the potential only fully blossomed on “rebimine + voltimine”. By bringing in the musical playfulness and maybe even the naivety of the Canterbury bands, they took jazz fusion, which usually lives under the “complex music” label, to a level where they approach their work with childlike joy and humor. On top of that they added the signature Canterbury sound of electric instruments, and the resulting music speaks volumes about how well this experiment worked. Phlox aren’t just an Estonian innovation (though thanks to their very low media profile, that’s all they are for now) but a global one. It’s fascinating how close the Estonians get to the avant-garde while still keeping a hold on simpler melodies, somehow refusing to get tangled up in the pretentiousness that’s all too common among avant-garde prog rock bands. The result is the pinnacle of this kind of music today, if this kind of music even exists. They’re unique, original, and have more than enough potential to write their name alongside jazz-rock giants like Soft Machine.
“Rebimine + voltimine” (the Slovenian equivalent of the album title would be “tearing + folding”) creates this almost divine image of the band on the very first listen. The album opens with “Rähn”, a galloping fusion treat that uncompromisingly promises a wild ride ahead. Incredibly shifting rhythms, instruments coming in with the craziest entrances, and above all a wacky tempo held down by the drums: Phlox serve all of that up on a platter with the opening track alone. With shorter bits of Eastern melos (where a flute also appears) and noise rock interludes, they keep the listener in a firm grip with no escape. Next comes “Kraap”, a game of sounds that serves as an intro to the third track, “Habe”, which it flows right into. “Habe” is once again packed with free-spirited madness, driven by drummer Zilmer. Still, it has a lot more jazz elements, and its central section is saturated with saxophone, which takes over the reins. Interestingly, saxophonist Klein’s at times free jazz approach never “clashes” with the avant-garde orchestra behind him, even though at first glance they seem to be in disharmony. The track ends in orderly chaos, closing the first chapter of “tearing + folding”.
The album’s biggest turning point is undoubtedly “Hunt”. This otherworldly epic moves “rebimine + voltimine” into the elite. It’s the track that makes Phlox’s name. This 10-minute odyssey shows off everything Phlox are about, as the musicians stop playing coy and pull every ace out of their sleeves. “Hunt” really is the ultimate musical hunt, a hunt for the biggest names in progressive music. A great build-up from a pleasant opening with just keyboards and saxophone launches “Hunt” into an unusual melody where saxophone, guitar, and keyboards cross paths and reign. All three instruments, alone or together, carry the track’s common thread; there’s always one instrument backing the soloing of the others with the main melody. The timing shifts, pauses, and changes in speed and volume are also top-notch, and not just so Phlox can call their music prog rock. “Hunt” also shows how well the musicians can blend musical madness with ambient, easygoing playing without losing touch with the original idea. That’s exactly why “Hunt” is surely the album’s peak. In the middle of the record we meet “Juulius”. The track is loaded with rock power, but the approach to it is entirely free jazz. That’s why the tune comes across as extremely experimental and avant-garde, probably more so than on any Phlox release so far. It still keeps to the concept Phlox set for themselves, while proving that it’s easy to make a great shorter prog track: “Juulius” runs just over three minutes. “Kaavjas” is another track where the musicians show off their versatility. The funk rhythm section serves up less demanding musical elements for the listener, and Klein doesn’t overdo his saxophone freedom either. The track is still fun, with keyboard parts from the Canterbury scene (it especially recalls National Health), and a pleasant change of pace after such a stormy first half.
The last third of the album covers the extremes, from the most easygoing jazz approaches to experimental chaos. “Ühe Poja Toit” falls into the former. The track is certainly pleasant, at least compared to its predecessors. It’s still invigorating, neither boring nor monotonous, with a healthy dose of improvisation and a heavier ending that almost serves as an intro to the experimental chaos of the second-to-last track, “Sõjajalgne”. A slow, almost stoner track, it’s indescribable. Noise rock guitar sounds trying to conjure a jazzy atmosphere are accompanied by percussion and Afrobeat. That’s why it may only land with a handful of people who find it actually listenable, but you have to admit it’s an extremely interesting attempt and approach to fusion music. The closing act, “Kurehirm”, is, like “Sõjajalgne”, an extreme experiment, except that the noise rock approach is swapped for an ambient one. The track’s minimalism is incredible, especially since throughout the record we get to know Phlox as a band that tries to fill every gap in a song, almost never giving the listener a breather. But this time they reach for the saying “less is more”, which is an excellent formula for closing out this phenomenal album.
Phlox probably don’t realize what kind of album they made with “rebimine + voltimine”. That’s exactly why it’s so little known even within the narrow prog rock scene. Phlox set themselves a great project, a saxophone-led fusion band where the scale tips more toward rock than jazz, at least as far as the sound goes. The guests are also indispensable on this album, especially Teder on flute, who adds yet another dimension to the sextet’s music. And it’s truly incredible how the group’s first two albums swim in mediocrity, while “rebimine + voltimine” easily holds its own against the elite of the golden 1970s. Still, they’re proof that such a leap is possible, with a clear vision, hard work, and plenty of quality that was only potential before this album.
All Phlox still need is listeners. The album will no doubt be appreciated in prog rock circles and all their subgenres; the band just has to reach those circles more effectively. So to all fans of jazz, rock, and prog, I warmly recommend Phlox’s work. Especially “voltimine + rebimine”, a release without equal.
Lineup
Kalle Klein – saxophone
Kristo Roots – guitar
Pearu Helenurm – keyboards
Raivo Prooso – bass guitar
Madis Zilmer – drums
Allan Prooso – percussion
Guest musicians:
Ramo Teder – flute
Arno Kalbus – tabla
Production
Kaur Faltis
Tracklist
1. Rähn
2. Kraap
3. Habe
4. Hunt
5. Juulius
6. Kaavjas
7. Ãœhe poja toit
8. Sõjajalgne
9. Kurehirm
