How can you characterize the music produced by The Necks? Sure, you got the Australian trio’s obvious jazz chops, and classical music undercurrents all over the place, but also rhythmic movements from wherever they can pick them. Yet then, their elongated compositions are more ambient/atmosphere oriented than come out as jazz improvisations. So, ambient jazz, then? Oh, and only subtle traces of electronics, if any.
No matter what you call it, their music so far has been both captivating and entrancing, creating a specific atmosphere and taking a musical route, rarely taken these days.
Is there any change in that respect on their latest album (a double one, if vinyl is your preference), The Travel?
Actually no, unless you count the fact that their music is getting even more refined and intriguing, whether you pay close attention to ever-changing minute details or use The Necks’ music as some sort of a meditation/musical background source, with musical wallpaper qualifications nowhere in sight.
After all, this is The Necks’ 19th release, and the band has recently started to do a 20-minute improvisation practice as a start to their everyday in the studio. Yet, these ‘improvisations’ seem to take a definite shape and form, turning the four compositions here into something you can dub contemplative excitement.
