Swiss piano-bass-drums trio Plaistow call themselves ‘post-jazz’, but given their links with post-rock it kinda fits. They remain jazz inasmuch as their choice of instruments defines them as such, but they depart from standard jazz structure in a way similar to contemporaneous groups, especially The Necks, using rock, minimalism, electronic music and drone to explore different approaches and trajectories.
Lacrimosa contains two long tracks, each setting up a number of firm ideas for the group to explore. There is little of the lengthy ebb and flow development of The Necks, say; changes are abrupt and edgy, and the players know what’s coming. In this there is a greater link with progressive rock, and in blustier moments they reminded me most of the likes of Shellac and Slint, the bass and drums (Raphaël Ortis and Cyril Bondi) particularly. Johann Bourquenez’ piano has more of Chris Abrahams to it, but sticks to resonant repetitive arpeggios, beautiful cascading overtones rippling like sunbeams, like Charlemagne Palestine only more beautiful. The first six minutes of “Lacrimosa’ are stunningly beautiful, glistening notes bleeding into a treacly golden drone, over which Bondi gradually adds 4/4 markers from cymbals and snare. This could go on for a whole album, but they change course into math rock shuffle, exploring dynamic changes before slowly shifting back to the drone.
“Cube’ is where the prog comes in, introduced by bone dry bass and drums, Ortis soon having his instrument growl and chomp, ready to eat his fellow musicians. Bourquenez again utilises lush arpeggios with the sustain fully depressed, floating over high pitched screech (bass? cymbal?) and D’n’B percussion fills. Less gorgeous than the title track but an impressive compliment; Plaistow are worth looking out for.
Joshua Meggitt
