There are certain sensations or vibes that all able minded people endure or enjoy with varying frequency and ferocity. The intangible nature of these mental states has left them hard to define or reproduce at will, however, in modern times these feelings have become categorised as emotions. Due to the occasional volatile nature of these emotions and their ability in some cases to significantly alter and seemingly occupy their host, they have previously been condemned as demons or malevolent spirits.
However, in the world of jazz these demons have long since been revered and celebrated. Furthermore, they have been determined to exist as an external force — which, with the right kind of mind can be harnessed and explored for all to share. In the jazz world, the hipsters call this the “groove” and it is understood that truly exceptional jazz can both tap into and transmit these moods without the need for words, arrangement or even sound itself.
Featuring Ståle Storløkken on keyboards and Thomas Strønen on percussion and electronics, Rest at Worlds End is the third album from the duo that go by the name Humcrush. Utilising this mostly synthetic medium, the first groove unravelled on RAWE is exploration and curiosity. Depicting a lush landscape of dew dampened foliage, trebling to the sound of tribal percussion, throaty bass and snake charming synth, Humcrush indulge their fantasy in the title track “Rest at Worlds end”. Out of the warmth of the jungle, the listener is propelled into the cold vacuum of space, in “Edingruv”, drenched in cock-eyed optimism yet cautiously retrained — the cosmic rambler takes careful steps through the nebulous expanse.
The further into the album the listener journeys, the more profound the symbiosis with the music becomes. As the vibe turns murky and the path grows shady, the listener is lured still deeper by the genus and intensity of the percussion, coupled with the sirenic sound of the synth. In “Steam”, the listener, transfixed by the infectious beat, desperately battles the urge to cast off inhibitions, beat the ground barefoot and give in to the spirits of the otherworld. These apparitions resurface in “Bullfight”, jilted and irregular this is a sixty second exorcism of angst and frustration.
Undoubtedly, Rest at Worlds End seeks to offer a deep connection and it is a testament to their craft that this can be achieved lightly. Tucked away in the background the music slithers out of the speakers and captivates the sub conscious. Nevertheless, a deeper commitment will offer more than captivation — played in a dark room and turned up loud — the all pervasive wave will soak the listener in a sublime sense of serenity and enlightenment.
Collaborating away from Food, Strønen has found himself a partner with greater resources to compliment the vast array of styles, which he so skilfully weaves together. This should not be construed as criticism of Iain Bellamy, a warm and sensitive saxophonist, but rather to suggest that perhaps Strønen prefers a cold metal shoulder to cry on.
In addition, Storløkken’s playing exhibits an impressive instinct and patience, which facilitates his delicate shifts between meandering melancholy and unrestrained euphoria. As well as possessing phenomenal technical ability, Humcrush are clearly masters in the art of empathy, which enables them to unlock both complex and primitive grooves-presenting them with wisdom and sincerity.
In short, if you like music then buy this album and play it when you want to be provoked, pacified, engaged or subdued — in every case it will provide satisfaction.
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