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Jono El Grande, "Fevergreens"
Rune Grammofon
Rune Grammofon is known for releasing consistently excellent recordswhile at the same time convincing listeners that all their music comesfrom Norway. One would think, given the output of this label alone,Norway should have long ago become the new Iceland…or something. Rune'sreputation for continually thwarting audience expectations will not betarnished by Fevergreens,the second release from outsider-composer Jono El Grande. Next to ArneNordheim's abstract electronics, Supersilent's dead-city jazz, andSpunk's inimitable improv, Fevergreens occupies a territory ofits own; problem is, the territory isn't so thrillingly exclusive thistime around. While El Grande's playful blend of easy listening,exotica, and soundtrack styling may stand out in Norway, there is a"tried" quality to this music that makes the disc less than impressive.Fevergreens is enjoyable; the exuberance of these tracks iscertainly palpable, the pathos-ridden moments gripping even. ElGrande's forays into easy listening and a kind of quasi-exotica arewritten well, never drifting into (more-than-appropriate) parody. Thedisc fails, somewhat admirably, in its ambitious nature. The musicoperates under a classically informed, theatrical guise, bookendingprologue/epilogue sections and all, with the soundtrack-influenced vibefueling the listener's vivid journey through the crests and denouementsof an elaborate, though abstract tale. Such a framework clashes with ElGrande's interest in jazz and the progressive rock sound bearing themark of people like the Mothers of Invention and Henry Cow. The avantpresence is subtle, isolated to bursts of rock drumming, spasticsynthesized melodies, and a more pronounced jazz edge, but relevantenough to pull the stoicism out from under what would otherwise be arather refined musical achievement. The short lengths of the songs,each packed with enough mood changes to make one's head spin, likewisedetract from the latent seductive quality of this music. I find myselfwishing the avant-rockist bits were allowed to flail and degeneratefreely, or the moments of a more classical resolve given more room tobreathe. The former would provide Jono El Grande a welcome (and stillunique) spot on Rune Grammafon's intimidating roster, while the latterwould still make him the best Norwegian making such interesting music(which, to be honest, could mean the best worldwide).
Rune Grammofon is known for releasing consistently excellent recordswhile at the same time convincing listeners that all their music comesfrom Norway. One would think, given the output of this label alone,Norway should have long ago become the new Iceland…or something. Rune'sreputation for continually thwarting audience expectations will not betarnished by Fevergreens,the second release from outsider-composer Jono El Grande. Next to ArneNordheim's abstract electronics, Supersilent's dead-city jazz, andSpunk's inimitable improv, Fevergreens occupies a territory ofits own; problem is, the territory isn't so thrillingly exclusive thistime around. While El Grande's playful blend of easy listening,exotica, and soundtrack styling may stand out in Norway, there is a"tried" quality to this music that makes the disc less than impressive.Fevergreens is enjoyable; the exuberance of these tracks iscertainly palpable, the pathos-ridden moments gripping even. ElGrande's forays into easy listening and a kind of quasi-exotica arewritten well, never drifting into (more-than-appropriate) parody. Thedisc fails, somewhat admirably, in its ambitious nature. The musicoperates under a classically informed, theatrical guise, bookendingprologue/epilogue sections and all, with the soundtrack-influenced vibefueling the listener's vivid journey through the crests and denouementsof an elaborate, though abstract tale. Such a framework clashes with ElGrande's interest in jazz and the progressive rock sound bearing themark of people like the Mothers of Invention and Henry Cow. The avantpresence is subtle, isolated to bursts of rock drumming, spasticsynthesized melodies, and a more pronounced jazz edge, but relevantenough to pull the stoicism out from under what would otherwise be arather refined musical achievement. The short lengths of the songs,each packed with enough mood changes to make one's head spin, likewisedetract from the latent seductive quality of this music. I find myselfwishing the avant-rockist bits were allowed to flail and degeneratefreely, or the moments of a more classical resolve given more room tobreathe. The former would provide Jono El Grande a welcome (and stillunique) spot on Rune Grammafon's intimidating roster, while the latterwould still make him the best Norwegian making such interesting music(which, to be honest, could mean the best worldwide).
