Previte Chandler - Previte Chandler

Knox Chandler and Bobby Previte are legends in their respective fields. Chandler has worked with prominent names in the Rock world such as R.E.M, The Psychedelic Furs, Siouxsie and the Banshees and Dave Gahan, while Previte is more entrenched in the Jazz/Avant-Garde music scene(s) ala John Zorn, Jane Ira Bloom, Elliot Sharp and Swami Lateplate (with Jamie Saft).

Previte Chandler sees the duo collaborating on what promises to be a fascinating debut. As with Queen's 1970's albums which proudly boasted 'no synthesisers' (before the band started featuring them heavily in the 1980s), the promotional notes here also highlights this fact, stating that Knox's Guitar is instead a 'tone generator', generating sound ribbons which complement Previte's Drumming. As someone who enjoys both artists work, thanks need to be extended to Dan from the excellent Discipline PR for the opportunity to cover the album.

'White Horse' is the first single to be released from the record and its not difficult to see why. The Jazzy improvisational qualities gel seamlessly with the track's rich melodies, reminding one of the ethereal soundscapes of Shoegaze (which has deservedly seen a revival in recent years) as well Brian Eno style Ambient goodness. A beautiful opener. 'Moonburn' is another gem with Miles Davis from around the time of On the Corner coming to fore, this is particularly attributable to the Funky Drumming and Guitar playing. 'Hallow' has some Charlie Haden-esque Bass with the accompanying New Wave flourishes recalling that of early 80's Adrian Belew led King Crimson as well as the effortless cool of Lou Reed.

'Streamtide' has a Post-Rock feel which nods to the textures forged on Talk Talk classics such as Spirit of Eden and Laughing Stock which saw that band adopting Dub and Classical elements on the former as well as Jazz/Art-Rock flavours on the latter. Absolutely superb. 'Lost Moon' has a 70's soundtrack Jazz-Blues/Fusion sensibility along the lines of Lalo Schifrin's work on Dirty Harry and Magnum Force, which as a fan of those movies/sound proved right up my street while 'Bottom Feeder' proves darker and far more aggressive tonally, what with Previte's explosive Drumming and Painkiller's Grindcore influenced sound. Finally there's a haunting quality not too dissimilar to what Lustmord has been producing since 1980. Outright sonic perfection.

'Tick' offers up some light relief after the bleakness of its predecessor with some blissful Neo-Psych sounds which have been infused with some Indian and Oriental touches that offer a transcendental experience, think David Sylvian's post Japan solo career. Or to put it another way, you'll find yourself floating on air after listening to it. At nearly seven minutes 'National Tan' is the longest piece on the record and by extension its most progressive and least accessible. Its a number that necessitates multiple listens as there is quite a lot going on with a dense sound reminiscent of the finest Trip-Hop of the 1990s as well as the aforementioned Post-Rock of Talk Talk. Epic in all senses of the word. Contrastingly 'Pan' as the shortest track on Previte Chandler is far more minimalist in nature. The music here once again signals the potential for it to be utilized in cinema. Had it been made around the time of Under the Skin, I'm sure director Johnathan Glazer would have lapped it up so as to enhance the enigmatic yet creepy nature of that marvellous film. An eerie yet sublime conclusion to the album.

Despite existing in seemingly disparate worlds, opposites can attract as is amply demonstrated here by messers Previte and Chandler resulting in a truly mesmerising and soul-enriching album.