"Tandoori Tentacle" is a combination of intelligent drum & bass with ambient electro and post-jazz fusion, with colourful arrangements by tabla, electric & electronic bass, Rhodes piano and intelligent laptop beats. As usual BADUN manages to let the boundaries of jazz and electronica melt into a whole piece of musical art.
When Karsten Pflum started making music about 12 years ago, he was using the moniker Slaphead Faun, but when his first releases were hitting the shelves in 2002 he discarded the name again. Since 2002 Pflum has released three albums, but now Slaphead Faun is back, although this time as the name of an album.
This album is a collection of bastard tunes produced between 2002 and 2007; they are the unreleased offspring of previous albums and EPs - the tunes that never made it on to the releases. There is a certain classic feel to the tracks, like they were in some way a yet unreleased collection of favourites.
Pflum's early works are very experimental with beautiful melodies, elaborated beats and unconventional ideas. Tricky and clever tunes that are catchy yet border seeking, and the tracks Tak 1 and Tak One are representatives of this period. During his career, Pflum's productions gradually became more edgy, the melodies more subtle and the drum programming more equilibristic. Tracks likePan BD Spiree and Six Step Chase shows how the music brings sound design into the mix, adding an extra layer of glitchy and quirky textures.
The album Slaphead Faun shows the whole Karsten Pflum spectre of sound - from the harsh and aggressive Thael Spir to the softer and almost magical Computer Weekend. It reveals different approaches to composition techniques and arrangement - Byrd or Fy Darkspedter are straight forward going, while tracks likeJazzkroge III or Make Rite are gradually morphing in new mysterious directions.
Slaphead Faun offers poppy melodic lines, psyched drill n' bass, old-school IDMand experimental electronica. It is a timeless dish of old and new tunes, a dish that altogether adds a new flavour to your ears. Poignant and seductive, like shadows manifistating in the dark.
When tuning your ear to Badun's contemporary pitch on this album, you're likely to hear reminiscences from late sixties and early seventies psych jazz and sinister impro-funk experiments. On one hand, as you listen to tracks like Plastic Jungle and Slow City there's a clear sense of unbounded groove and cosmic feel, congenial with the music of the cool-headed masters of the past -- this album definitely holds the inspirational echoes of spirits such as Miles, Zawinul and Sun Ra. On the other hand, when inviting the listener to set off on both interstellar and internal mind trips, Badun manage to fuse the reverb of spacey music history with their own present day reality of laptop-based modulation, digital glitches and multilayered sound architecture.
Since 2002, Badun has been exploring the intriguing territories of electronica, jazz and improvisation. Focusing on the energy of live performances while probing the secrets of home grown sound recording, the band has continuously changed its expression and artistic approaches. Now, well consolidated as a trio,Oliver Duckert, Aske Krammer, and Hjalte Møller, Badun release their most ambitious album yet. Not only does Last Night Sleep present itself as a coherent piece of work, where the tracks are subtly connected and add up to a solid whole. The album also points to Badun moving in another, more contemplative direction. Compared to their 2007 debut, the tempo has been slowed down significantly together with a radical expanding of the listening space. In this way, the trio has opened a deeper and wider auditory sphere which is still held together by a distinct sound that has Badun written all over it.
In addition to the organically flowing syncopations and harmonic ideas that spring from the trio itself, the album has contributions from among others multi-instrumentalist and guitar wiz Jonas Stampe. As well, on Juuhm and The Man with the Fine Hair, you'll notice the percussive textures being contrasted by low key saxophone intonations of reed player Roger Döring. Inviting and integrating the sounds of fellow musicians is however not Badun's biggest accomplishment. Even more importantly, they overcome the tricky divide between acoustic, electronic and digitally rendered elements. Far from being superficial, this results in a seamless amalgamation of new and old, of micro circuits and classic instrumental resonances - from the timbre of Rhodes piano and crispy synths to complex, yet earthy rhythm structures and fretless bass lines. This is a universal kind of music that calls for both relaxation and heavy sit down-grooving. And no matter how and when you listen to it, please don't waste your time trying to find a fitting label -- instead loosen up your inner aural system and let it all come through.