By Charlie Watkins
From its earthquake opening, Nethering announces itself as a bold
new statement from avant-garde saxophonist Colin Stetson, joined here by
drummer Greg Fox and bassist Trevor Dunn. Stetson, who is probably best
known for his solo saxophone work, shows himself to be in excellent form in
an improvised ensemble setting, here showing an uninhibited aggression that
I haven’t heard from him before. Fox, who established himself working with
black metal band Liturgy, brings a similarly hard-edged approach to the
record, whilst Trevor Dunn’s explosive bass playing adds a furious intensity
and momentum to the music. Dunn and Fox worked together previously on Sally
Gates’ 2023 record Deliriant Modifier, and they have clearly
established a strong connection that makes them a terrifying pairing.
Fans of Stetson will quickly hear similarities to his ‘post-everything’ jazz
metal quartet Ex Eye, who conjure up a similarly affronting sound (and of
which Fox is also a member). But SFD go further: less constrained by
compositions, more free to open up and explore the sonic potential of the
grouping. This record brings in more elements of drone and noise, and feels
generally more orientated towards ‘sound’. There is also an extraordinary
range in the music: from the unabated to the subtle. The second track,
Reclaimer, starts softly, but without ever losing the intensity that
characterises the whole recording, and Molemoss maintains a fragile but
ominous quiet. The musicians are always working with rather than against
each other, allowing them to rise and fall as one, and this gives a clear
sense of structure to the album.
It sounds to me like the first three tracks were recorded as one
improvisation, then the next two tracks, then the final two. The shape of
the music as a whole is cohesive, contrasting and always with a clear sense
of direction, and it is testament to the impressive production that the
track changes weave so seamlessly together. The overall production is very
impressive: even at its most explosive, nothing is lost of any of the three
instruments, but the detail doesn’t compromise the rawness of the playing
either.
Stetson’s characteristic vocalisations, which are amplified by a close
contact microphone around his throat, add a ghostly fourth voice to the
mix. Unlike on some of his solo records, where these vocalisations have a
more angelic quality, here it is more of a demonic roar. But it is his
abrasive saxophone sound that generates the most intensity, moving the
recording towards noise. Moleman, the fourth track, is absolutely massive:
Dunn and Stetson weave together complex lines and harmonics, both
demonstrating their virtuosity, whilst Fox relentlessly propels the music
forwards. It demonstrates the close relationship between metal and
improvised music: both genres require absolutely mastery of the instruments,
with a similar emphasis on raw sound; in many ways, this record moves closer
to the former. This crossover sound of will surely attract a wider audience
than improvised music normally does, by its blending of genres and
approaches.
Netheringis loud, abrasive and boundary-pushing. The album notes
indicate this is the first release in a series of collaborations led by
Stetson, which can only be a good thing, and a comment Stetson made at the
album launch party on Bandcamp suggests that this trio has more recordings
in the works. The album comes in at just after forty minutes, but its
succinctness is a virtue, especially with more to look forward to in the
future. Highly recommended.
Netheringis available now on Bandcamp: