Serbian guitar and drums duo Dragan Pik and Zoltán Simon have been concocting their widescreen instrumental sound for some time.
Back in 2021, when the geographically challenged duo reconvened for some live action, they also involved accordionist Lazar Novkov and Broodmen was stretched to a trio, the sound changing again as the accordion, at times melancholic and at others joyful, set them on a new trajectory. Recorded live in a single session, Liminality explores the pushing of boundaries, the interaction of disparate sounds and the sheer thrill of playing live and seeing where it may lead.
The fuzz guitar, rolling drums and meandering accordion of opener “Homeland” stir up a desert-dwelling post-punk vibe, the scuffling flurry of drums subtly driving while the guitar and accordion work together, complementing one another, filling in gaps but leaving acres of space overall. The sense of the great outdoors, vast in its majesty, fills the sound here and the whisper of wind across a limitless plain is ever-present. The accordion puts such a different perspective on this sort of rollicking attack, with the guitar buzzing with fire while cymbals strike.
As Liminality moves on, so the atmosphere changes; but it is always filled with the thrill of the three playing together. Things take a slower turn on the contemplative “Lament”, with the accordion a slow drone as the plaintive guitar describes some hidden scenic beauty, leading gradually into something more powerful, while the delightful accordion melody of “Can’t Stand The Heat” evokes a gentle jazz band, watching dancers sweep across the floor. They rarely stand still in a track though, with some rockier firepower giving the dancers some added impetus.
There is a post-rock kind of feel to “Badalamenti Gore”, the sun slowly rising over a sparse, flat landscape, grass burnished with golden flecks and there were other moments that had me thinking of an update on the soundtrack that Ennio Morricone provided for The Good, The Bad And The Ugly, particularly on the existential throb of “Still Standing”. I can see the three players evoking those three protagonists as they head for the final showdown. Liminality has that kind of variety and sense of drama merged with joy. The guitar and accordion are endlessly interchanging, while the ever-visceral drumming shimmers in the light.Liminality is a great discovery that would be ideal for fans of the likes of The Dirty Three, but there is something about the accordion tone that makes it special. The more I listened, the more I discovered and the more the melodies wormed into my head. Broodmen are onto a good thing here and hopefully they will come over to play, because I imagine this would be great live; but for the time being treat yourself to this.
-Mr Olivetti-
