Nubdug Ensemble - 2024 - Third

(37:05; CatSynth Records)

Track list:
1. Third Overture 1:15
2. But in Ourselves 4:37
3. Put It by Thrice 3:31
4. The Ladder 3:13
5. Count the Clock 4:51
6. Portia and the Soothsayer 2:57
7. Midmarch 3:53
8. This Little Measure 3:03
9. Triumvirate 4:03
10. The Tide 2:25
11. The Ghost at Philippi 3:17

Line-up:
Jason Berry - programming, keyboards, electronics, various instruments, sounds
with:
Steve Adams - saxophone
Jason Bellenkes - clarinet, saxophone
Myles Boisen - e-bow piano, guitars, sitar, percussion
Sheldon Brown - clarinet, flute
Dan Cantrell - harpsichord
Amanda Chaudhary - keyboards, synthesizers, electronics
Mark Clifford - glockenspiel, crotales, vibraphone
John Ettinger - violin
Chris Grady - trumpet, flugelhorn
John Hanes - drums, percussion
Scott Larson - trombone
Crystal Pascucci - cello
Jill Rogers - voice
Sami Stevens - voice
Brett Warren - bass
G Calvin Weston - drums, percussion


Prolusion.
US venture Nubdug Ensemble is the creative vehicle of composer and musician Jason Berry, who has been active in different projects for at least a decade and a bit. Possibly and presumably longer than that too. The Nubdug Ensemble first appeared back in 2020 with the album "Volume One: The Machines of Zeno", and a further two studio creations have appeared since. "Third" is the most recent of these, and was released through the label CatSynth Records in the fall of 2024.

Analysis.
This is one of those albums that breaks and breeches conventions in quite a bit of an elegant manner, and while the former kind of makes it a progressive inclined production by default it is the latter that makes this a much more interesting album than merely being a genre-defying creation.

Jazz and jazzrock is arguably at the core of the proceedings here, with reeds and presumably a bit of brass having central roles throughout and with a rhythm section as well as the other instrumentalists not shy of providing tones and patterns that remind of jazz, jazzrock or both. With elegant and accessible yet also quirky instrument manoeuvres being a bit of a recurring element here.

But this album is also a melting pot of so much more. Careful and atmospheric laden passages that come with a little bit of a Camel touch thrive here just as much as more expressive displays of the kind that a band like Gentle Giant pulled off when they were at their most expressive peak. More atmospheric laden and darker toned instances of quirky but accessible goodness with a little bit of a King Crimson vibe have their time and place here too, and some token few references to soul music, funk and arguably even a tiny little bit of disco can be encountered along the way. As well as a nod of the hat in the direction of classic era Kraftwerk, and with a little bit of a vocal flourish that at one point made me think of Magma. That world music flavors pop up on occasion and a couple of songs does make good use of Middle-Eastern inspired tones and scales, and that classical music and perhaps also chamber rock are if not flirted with then at least possibly referenced are also tidbits of associations that probably merits a mention.

But rather than being an amalgam of disparate sounds that draw in every which direction, this is an album that manages to make use of such a wide variety of elements and combine them into landscapes that are wholesome, compelling and inviting, without ever shying away from being challenging at the same time. Mesmerizing beauty and haunting textures of dark allure are both present and presences throughout, with a little bit of a playful and borderline jubilant edge at times too. These are landscapes that drag you in, each song generally using a different manner in which to accomplish this but without ever losing track of what one might describe as the album identity. Even if there are cases of songs that initially may come across as being a stranger pulled in from the left, they will always develop towards sounds, moods or atmospheres that make then a natural and even logical part of the totality.

In some ways I regard this album as one that exist outside of the more common references as far as any specific era or tradition is concerned. While not a strictly timeless album, it is one that really is undefinable for me as far as any specific time period is concerned. What this creation does have though, and lots of it to boot, is a progressive spirit.

Conclusiuon.
The sheer diversity of sounds, moods and traditions that have been placed inside of the melting pot here will probably make this an album with a bit of a niche appeal. But for those with a general interest in music of a more accomplished and challenging nature, and that can appreciate artists exploring such landscapes in a more compelling and inviting manner, then this is a production that should be found rather rewarding I suspect. A certain affection for jazz, jazzrock and the more avant-garde aspects of progressive rock may be required though, although a deep appreciation for distinct moods and atmospheres may make up for a lot of that too. A solid example of how to explore challenging landscapes and expressive territories in a distinctly appealing manner.

Olav "Progmessor" Björnsen, November 2024

Links:
https://www.facebook.com/VACUUMTREEHEADandNUBDUGENSEMBLE