Eclectic Maybe Band – Reflection In A Moebius Ring Mirror

Discus

Martin Archer‘s Discus label continues its sonic adventures with the latest release from Belgian bassist Guy Segers’s improv project the Eclectic Maybe Band. An improbable bevy of some of the finest improv musicians, the project finds group-constructed freeform pieces sitting side by side with Guy’s speciality, which is taking improv recordings from different sessions and then stitching them together in the studio over a bass-line written especially to accompany the segments.

It is a fascinating and I imagine a rather painstaking approach, but one that reveals some extraordinary results. Allied to the fact that he has enlisted the mysterious Carla Diratz to vocalise over the top of some of these pieces, it all makes for an almost overwhelming stew of ideas and textures. There is much to take in on Reflection In A Moebius Ring Mirror, particularly as some of the pieces weigh in at over ten minutes and find various soloists being given the opportunity to stretch their legs over their unfurling.

Opener “Horizontal Bounce” is one of the live septet recordings which commences with rolling drums of Dirk Wachtelaer and the probing deep bass of Guy himself. As a rhythm section, they are tight and provide a constant sense of momentum, but it has a shadowy feel, surreptitious and shadow-hugging. Joe Higham‘s horn is smooth and the whole thing feels kind of slinky, alert yet cool. There is an expansive guitar solo that ends up duelling with a flute and cavorting deliciously down the empty street.

The album owes as much to post-rock as it does to jazz, but trying to categorize it is pointless. “Socie De Gouache”, a collective improv, is a lazy piano riff surrounded by curious sound samples that act as little triggers like a patchwork sample, obfuscated and camouflaged with judicious snare. “Oncoming Season Wake” , one of Guy’s studio constructions, gives us our first introduction to Carla’s vocals; the phrasing is unusual, as if she is trying out a new mouth and is unsure as to whether it works, so is pushing it to its limits, twisting vowels and stretching consonants. Her voice is husky and a little weary, and it is hard to believe that it was delivered over a pre-prepared track as its slight sense of unease somehow prevents the rest from settling.

The album continues in this vein, the two methods juxtaposed, but leading to a connected whole. The collective woodland improv of “Liquid Tempo In A Lost Period” finds the flute as the main protagonist, even though everybody has an opportunity to add to the search; whereas the cut-up of “Quoi?” is quite overwhelming, with the music attempting to fly on all manner of directions. It has label supremo Martin blowing some lovely clear sax, while Carla’s vocals again eschew tradition and find their own meter. It is a fascinating voice that adds such mystery to the pieces, and it is interesting that those pieces constructed by Guy around one of his basslines are often the jazziest.

Elsewhere, we have spy-theme wah-guitar, beautiful pastoral piano from Catherine Smet and even a sub-aquatic piece that evokes roiling seas, with mysterious movements and sounds emanating from points unseen. In fact on “‘Spreading An Invisible Stream”, Carla’s lyrics emerge from the murk, “half way down, half naked, half lobotomized”. It couldn’t be more curious.

Overall, Reflection In A Moebius Ring Mirror is a release of unparalleled scope, almost astounding in its reach, but with its beauty and sense of questing allowing the listener opportunities to immerse themselves. The players are all superb, and Guy’s way around the studio means that his constructed tracks are seamless yet exploratory. It is well worth taking a dip into these welcoming waters — but watch out for the currents.

-Mr Olivetti-