Mihkel Raud’s record company Beg the Bug Records must rank as one of the boldest in Europe. In Estonia they have certainly made their mark.
Last year’s release of Black Sabbath tunes performed in Latin by a mediaeval ensemble, Rondellus’ “Sabbatum”, could have remained — or become -a mere novelty. Yet, it generated interest and reviews internationally.
One wonders whether The Weekend Guitar Trio will enjoy the same global scrutiny. These eyes had read nothing but thought-provoking (local Estonian) opinions of the combined efforts of Robert Jürjendal, Tõnis Leemets and Mart Soo. As the name of their group indicates, they are (duhh) guitarists. But weekend? Think not. They have different backgrounds — classical, jazz, electric, and in common — the confidence to experiment.
As their cleverly titled CD, which reached North America recently demonstrates, the three are enormously talented musicians who also play more than guitars — the E-Bow, Roland V-8, looper and guitar synthesizer — all instruments of the electronic era.
Yet one wonders what the true goal of this recording is intended to be. “Aim” in English is obvious — there is a target, object, even figuratively, as a purpose, intention, design — often undefined. And in Estonian, “aim” means inkling, anticipation — often obscure. Thus a word that could be said to have similarities in translation, yet thanks to the foreshadowment issue, vast differences.
Methinks that the Estonian applies here — the trio has cut a platter that leaves the listener guessing as to what the “aim” here is. While influences abound, electronic effects dominate, the over-all effect remains one of anticipation.
Anticipation of more, that is, from this much-lauded group. The CD travels all over the aural map. While the opening cut “Sancho’s Dream” is gentle and ephemeral, one notes some Metheny methodone drone. The same cannot be said of the curious lament “Penguins in the Jungle”. Intent might have been the same — there is no dissonance, outright unpleasant noise — but Kristiina Killo’s plaintive vocalizing on Penguins need not be there. It removes, rather than adds to the goal. And right after that, keeping the listener on his toes, the curiously titled “005 in Africa”. Quality jazz, reminiscent here, of Metheny’s best. But: with nary an obvious influence of the dark continent to be discerned. “Black Elephant” is intense in the Jean-Michel Jarré fashion — listen, but don’t get blown away. The promised — and advertised King Crimson/ Robert Fripp influence is here, but in such a refined way that even a 21st Century Schizoid Man can be at peace. Frankly, a laudable quality at every decible level.
Perhaps we become too easily spoiled by albums, concerts, radio stations that play the expected — selection after selection. Perhaps this is why, when talented musicians such as the WGTrio experiment, one is unwilling to grasp the entire disc as the intended (?) whole. Individual cuts, as noted, stand out, but much like the Rondellus effort, it takes a certain willpower, energy to sit through the entire record without being diverted.
A lot of effort went into this recording — the packaging, for example is very attractive (Raivo Hoot’s photography and design needs to be seen in full colour). English and Estonian credits indicate the intention to capture a wider market. Technically wonderful, the recording and producing is crystalline. Yet when all is said and done, the CD player shut off, there remains an unfulfilled feeling, without being able to say exactly why. Very much like a strip-tease — where you are not allowed to get close to what you see — this is a bit of a string tease. You hear genuine talent, wish for more. Likeable, yet not the type of recording that is in its entirety for everyone. Don’t take only my word for it — check it out for yourself on the Internet, listen to tunes from “Aim” in lo-fi MP3 at www.weekendguitartrio.com
“Aim” is available for purchase from www.cdbaby.com