A double review of Messa’s latest opus, The Spin. Will it spin you round and round?
Doom Jazz
Five the Hierophant – Apeiron Review
“I wanted to love Five the Hierophant’s last album, 2021’s Through Aureate Void. I really did. Alas, it was not to be. However, after seeing them play a great set at ArcTanGent in 2022, I revisited that record. While I stand by everything in that review, including the 2.0, which some viewed as harsh, the potential was clear and Five the Hierophant was tantalizingly close to delivering a worthy follow-up to their very good debut, Over Phlegethon. The British quartet’s brand of psychedelic, jazz-inspired, instrumental post-metal had elements of greatness marred by meandering, over-indulgent songwriting that lacked standout ideas.” Five or lower?
Swami Lateplate – Doom Jazz II Review
“It’s 11 years since New York’s experimental jazz duo, Swami Lateplate, released their debut, Doom Jazz. To be fair, both its members, Bobby Previte and Jamie Saft, are extremely well-respected jazz musicians and they have been busy with other ventures. Drummer Previte, now in his 70s, has been a presence on the NYC jazz scene since the late 1970s, collaborating with the likes of John Zorn and Elliott Sharp.” Swami, salami, doom Jazz bomby.
Messa – Close Review
“Three albums into their career and few bands are as enigmatic and interesting as Messa. Starting life as a progressive doom act, Messa always played fast and loose with genres and styles, layering doom, sludge, ambient, and cabaret jazz influences in the madman’s lasagna and adroitly blending spices to make something captivating and otherworldly. On third album Close, the ambient elements have faded away but the doom-meets-cabaret-meets-whatever style is still present, with the overall sound ending up more expansive and airy.” Up Close and personal.
Last Call at Nightowls – Ask the Dust Review
“There is something special about music created by artists who must collaborate with each other from afar rather than together in person. Take the short-lived yet beloved synth-pop duo, The Postal Service. Two artists, electronic musician and DJ Jimmy Tamborello of Los Angeles and Ben Gibbard, singer of the indie band Death Cab for Cutie, of Seattle decided to collaborate with each other undeterred by the distance between them. Jimmy and Ben overcame said distance by sending recordings back and forth via, no joke, the United States Postal Service. I find this mode of collaboration endearing, and I still hold The Postal Service’s one album Give Up near and dear to my heart. Dark ambient doom-jazz band Last Call at Nightowls followed the same formula The Postal Service employed to create their debut album Ask the Dust.” Suspicious package.
