By Don Phipps
What is it about GoGo Penguin? While neither art, sound experiment, nor
cerebral exercise, the music of Necessary Fictions is enjoyable.
Call it a guilty pleasure – like popcorn while watching a movie – a comfort
food for the ears – delivering a sense of wellbeing inside grounded reality
(structure). The trio of Chris Illingworth (piano, synth), Nick Blacka
(double bass, bass guitar, synth), and Jon Scott on drums are backed on some
numbers by a small string ensemble and guitar, and guest vocals courtesy of
violinist Rakhi Singh and guitarist Daudi Matsiko.
The tunes on Necessary Fictions do not generate heat. Instead, they
lollygag along – more akin to giant blossoms in a pond responding to the
day’s elements – wind blowing them about, rain pouring down, and on sunny
days with slight breezes, floating gently on the water. There’s a subtle
head nodding vibe to many of the numbers – propelled by syncopated rhythms,
delicate synth patterns, and minimalism.
None of the pieces feature piano virtuosity. Illingworth prefers to dwell on
single notes and avoid tonal clusters, notes that present a unassuming
lyrical odyssey that rotate around a center. And he’s not afraid of
repetition. Listen to his piano on “The Turn Within,” “Naga Ghost,” and
“State of Flux” for textbook examples.
Scott’s drums provide a galloping yet grounded push to the effort. And he
works in some variation. For example, he uses his hands to tap on the drums
on “Luminous Giants” and his use of the tom tom provides a bounce on
“Silence Speaks.” There’s also his tap-filled brushwork on “Fallowfield
Loops” and the interesting syncopation he employs on “Living Bricks In Dead
Mortar” and “Naga Ghost.”
Like his bandmates, Blacka’s bass work lays down straightforward lines.
There’s nothing free form –just a solid bottom with enough emotional heft to
keep the music flowing. Listen to his counterpoint on “Fallowfield Loops.”
Or the select fingerings he chooses for his bass solo on “Naga Ghost.” Or
the foundation he provides on “The Turn Within.”
The album might have a miss or two. For example, the poppish “Forgive the
Damages” might have been omitted. This same poppish approach is evidenced in
“What We Are And What We Are Meant To Be.” But in the latter, the piece is
planted more firmly in its ethereal effects -the synths providing a drifting
background behind the development while Scott’s scattered drumbeat delivers.
Still, despite the highly structured arrangements, many of the rotating
motifs create a dancing, hovering aura – an embrace of the beautiful aspects
of our world – wind in hair, warm ocean spray on skin, distant vistas, and
circular rainbows. Who can begrudge happiness? And, maybe, these are
necessary
fictions. Enjoy.