Lynchian Menace and Suspense from Kallle Kalima
Today we shift from one kind of intensity to a vastly different one. Finnish guitarist Kalle Kalima and his group K-18 – saxophonist/reedman Mikko Innanen, adventurous quartertone accordionist Veli Kujala and veteran bassist Teppo Hauta-aho – generate plenty of it on their new suite, Out to Lynch. Much of which sounds like they’re out to lynch somebody, but it’s actually a series of compositions inspired by David Lynch films (they have a thing for movies: their previous album was a Stanley Kubrick homage). K-18 is Finnish for “rated R” – apparently the Finns’ film ratings are less alarmist than they are in the US, considering how tame an R rating is here. How Lynchian is this album? Lynchian in an Eraserhead sense, certainly. And although this is challenging and frequently abrasive music, much of it is far from ugly.
It’s important to keep in mind that the compositions here are inspired by various films or characters, rather than being representational. Interestingly, Kalima never reaches for the twangy noir of Angelo Badalamenti. The opening track, BOB – the first of a handful of Twin Peaks references – squalls and squeaks and quickly throws rhythm out the window, then goes unexpectedly sketchy and minimalist. The Elephant Man inspires a quietly skeletal interpretation, Mulholland Drive a series of casually bracing, swirling clusters – lights moving against a Hollywood hills backdrop at night, maybe?
Laura Palmer is a suspense piece, bass stepping gingerly through the darkness before the guitar provides a flashlight and then they rise in eerie, noisy sheets before returning to a tense spaciousness. The most thoroughly enjoyable track here is, perhaps predictably, Eraserhead, a deliciously creepy microtonal acccordion tune that wouldn’t be out of place in the Dave Fiuczynski catalog.
A couple of cuts draw on the lovers from Wild at Heart. Lula Pace Fortune gets airy flute and accordion over distantly menacing atmospherics that rise to a grinding sostenuto blaze; a bit later on, Sailor inspires a similarly terse series of duo improvisations. Alvin Straight, who drove hundreds of miles along the side of the road on his riding mower to visit his estranged brother, serves as the impetus for a wryly methodical, minimalistically paced tone poem featuring the bass.
The Mystery Man (from Lost Highway) is the most intricate number here, a series of circular riffs interchanging over dynamic shifts, growing more ominous with squalling, shivering sax and guitar and ending with a twisted march. Twin Peaks’ Agent Cooper has a fluttery tone poem to show for all his persistence, while the Man from Another Place – another Twin Peaks character – gets all of thirty seconds of flurries. On the concluding cut, Frank Booth, there’s no candy-colored clown, only a funereal rubato bass pulse lowlit by guitar that finally explodes: it’s not hard to imagine the poppers oscillating through the Blue Velvet villain’s brain as he huffs from that evil tube. Innanen contributes a devilishly tongue-in-cheek interlude along with Hauta-aho before the album’s most melodic and appropriately menacing passage.
Like all Tum Records releases, this comes beautifully packaged, including artwork by Marianna Uutinen and a magazine’s worth of liner notes: the Tum peeps are writing a lavish history of Finnish jazz in installments. It’s also worth mentioning that Innanen – who ironically leads another project called the Serenity Ensemble – has an excellent, sonically challenging album of his own, Clustrophy, out from Tum as well.
No comments yet.