Neo Dada is a rare Norwegian release. Out of his sleeves, artist/musician/conductor/prankster, Jono El Grande pulls complex and progressive themes within the rock, comedy, classical, proggy genres. Jono’s background might be his worst enemy towards reaching an audience. He has frequently been spotted in gossip-pages of all the Norwegian magazines indiekids love to hate, but that can’t be held against his music.
After releasing the overlooked Utopian Dances (1999) and Fevergreens (2003), Neo Dada thrives on comparisons with Frank Zappa and progressive, instrumentalists from the 70’s. It is hard to dig up peers in Norway. The dominance of Frank Zappa as a grandfather of progressive musical innovation, discredit composers trying to pawn his or her own way today. So, what is Jonos grande idea this time around?
Neo Dada can be described as avant-garde, yet familiar. It’s an album that demands attention but the overall concept isn’t strong enough to keep your mind from wandering. You try to stay focus on a plot that isn’t present, and this makes you somewhat restless. But there are exceptions; “Big Ben Over” and “Oslo City Suite” are excellent recordings. They are both challenging and provider of some state of random bliss performed by a potent band that is well conducted.
If this album supposed to be a funny “Ballet Morbido In A Dozen Tiny Movements”, then this track is indeed successful in making me smile. The song is a great example of genre-expanding and challenging contemporary music, and without a doubt the best tune on the album with its unexpected turnovers, clever melodies, delicate classical passages and timeless sound.
This is not enough to make Neo Dada a great album. Grande hides weak ideas behind a vague concept few understand. It doesn’t stick, but has its truly memorable moments. Nevertheless, it provides a path or start, for something out of the ordinary. Jono El Grande and his musicians deserve a listen and respect for their bold takes on music.
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