I've read more than a few jazz critics complain that Portico Quartet's new self titled effort is “aimless”. If jazz fans find this aimless, what are we, the not so indoctrinated, to make of it? This third record from the London outfit essentially can't decide whether it is redefining free jazz or simply throwing in a bit of sax amidst the numerous synth loops and frenzied percussion.
The likes of 'Lacker Boo' and 'Rubidum' do seem rather purposeless on first listen, and the latter particularly sails way past its course, but the absorbing charms of this album draw you back in. 'Spinner' and 'City of Glass' feature lumbering double bass and inventive percussions that energise and invigorate in one sense, but the droning sax and ambient textures give the pieces a more contemplative tone, and the quartet certainly utilise these elements in a more emotional, meditative way than a number of their peers. At other points, the jazzy inflections seem almost entirely absent. The frenzied mid-section of the record shows clear influence from IDM titans Boards of Canada and/or Dubstep pioneer Burial.
This amalgamation of sounds is constantly listenable, albeit rarely exhilarating. The various textures and ideas fail to mask how much the group rely on the simple quiet-loud dynamic. 'Lacker Boo' in particular seems to build and build but reach no discernible crescendo. Okay, so this isn't a post-rock record, but the glitches and hiccups occasionally seem to interrupt the natural flow of the track. Most of the time, the album progresses nicely, with 'Sleepless' featuring female vocals that break things up nicely, and glissando strings present on 'Window Seat'.
This is hardly Miles Davies, but jazz-heads who appreciate ambitious music should check this out. Conversely, listeners with next to no interest in the genre will find plenty to get lost in here, even if Portico Quartet's experimental side gets the better of them a tad too often.
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The likes of 'Lacker Boo' and 'Rubidum' do seem rather purposeless on first listen, and the latter particularly sails way past its course, but the absorbing charms of this album draw you back in. 'Spinner' and 'City of Glass' feature lumbering double bass and inventive percussions that energise and invigorate in one sense, but the droning sax and ambient textures give the pieces a more contemplative tone, and the quartet certainly utilise these elements in a more emotional, meditative way than a number of their peers. At other points, the jazzy inflections seem almost entirely absent. The frenzied mid-section of the record shows clear influence from IDM titans Boards of Canada and/or Dubstep pioneer Burial.
