Fred Frith Trio performs Dec. 3 at St. Cyprian’s Church (2097 Turk Street, San Francisco) on Dec. 3 at 8:00 p.m.
Fred Frith Trio — Another Day in Fucking Paradise (Intakt, 2016)
With a title like that, you’re not expecting a bucket of sunshine. And indeed, the Fred Frith Trio’s debut album delivers a long-form improvisation that’s often dark and ghostly, with Frith playing plenty of sinister, echoey tones against the deep, nimble bass of Jason Hoopes and the often aggressive drumming of Jordan Glenn.
There’s a happy subtext to all of this. Hoopes and Glenn were students of Frith’s at Mills College. They’re part of a collective of prog/pop/folk-minded musicians Frith had mentored, work that resulted in bands like Jack o’ the Clock, which includes Hoopes and Glenn, and Frith’s own Cosa Brava.
The Fred Frith Trio debuted last year with a show at Slim’s in San Francisco, followed by a tour in Europe. I’m calling Another Day in Fucking Paradise a long-form improvisation, which would match the strategy the band used at the Slim’s show, it appears to really be a set of studio improvisations stitched into one long piece with 13 track divisions. There might be some overdubs involved as well; Frith is keen on the idea of touching up an improvisation for the sake of a recording.
The album generally follows a fast-slow-fast trajectory — meaning, the tracks in the middle cover slower, subtler territory. That’s where some of the trio’s darkest and most intersting music gets made. The 11-minute “Yard With Lunatics” starts with Hoopes and Glenn spewing shards of nighttime glass but quickly levels into a spacious plateau, full of ghostly guitar and bass statements left to linger in the air, backed with swampy electronic squiggles and blips.
Of course, the faster segments are fun, too. Early in the album, “Dance of Delusion” and “La Tempesta” feature lots of Hoopes’ throttling electric bass sound and some rapid-fire clatter by Glenn. Frith is all over the place, as you’d expect — but even when Frith is in a “lead” role, it often feels like he’s tending to the overall tapestry rather than taking center stage.
The last third of the album has Hoopes turning to acoustic bass, strolling melodically through the clutter and cobwebby guitar effects of “Straw Man,” and eventually bowing on “Schelechtes Gewissen,” an incongruously organic sound against Frith’s tight staticky guitar fuzz and Glenn’s aggressive drums.
“Phantoms of Progress” has a jam feel, with droplets of psychedelic guitar echoing against Hoopes’ hopping, jazzy bass melody — it’s a very nice choice for the penultimate track. “The Ride Home” closes it out with a shuffling rhythm and some peaceful electric-bass melody. Frith hovers in the background, spinning near-rhythms and near-melodies to keep things just a little unsettling.