Gyre by Piloot


Piloot | Gyre
Mascarpone Discos (CS/DL)

The Brussels-based trio Piloot has rolled out its Gyre (on Spanish imprint, Mascarpone Discos) for the rest of the world to absorb its current. These are improvisations that they term “instant compositions” and being one who loves exploring Dada, Fluxus and the like, this makes a whole lot of sense – but sounds so much tighter than the typical freeform jam. The five pieces here are infections, moody and slightly groovy for the lack of a better term for its title track, which has this down low soulful chord structure with warm percussion to back it up. It unfolds really slow, almost like Big Ben chiming after hours. Wait for it…..

The trio is at the crux between avant jazz and spacey alterna-rock ala Sigur Rós or Radiohead in repose. The band consists of Florian Guibert (flute), Cyrille de Haes (double bass) and Jp De Gheest (drums) and these three gel together as a cohesive, symbiotic organism. What is thoroughly pleasurable about the way this sounds is each of the players really offers a leeway to the other, there are no unnecessary individual instruments testifying their solitary truth here, it’s a true triad working in unity. Therefore, what you get is something infinitely balanced and melodic. The setting they develop is not too dense and definitely not flyaway, it’s just right.


Into Yarn they begin to unravel swerving rhythms that serve to dig into the funky roots I previously mentioned. The tone is in reverb that floats, giving off a pulse that seems to be actively surveillant, with a bright tension, ready to pounce. Their rootsy rock roots show on the dark corrugation of Ridge, in its sonic layers and dense form. Rough and tumble and ultimately listenable. In some ways this has the stylings of an old-fashioned Moody Blues meets The Grateful Dead fusion, at the intersection of essences drawn from Godspeed You! Black Emperor. It’s vortex-like between-ness is its central nervous system.

The record ends in the smoothing tonalities of Heel, or maybe it should be “Heal” in its native harmony. It is a quieting, almost ceremonial space utilizing bells and fluid basslines that have a twinge of cosmic energy blended into something deeply tribal. The trio exposes its soft underbelly as it leaves the stage, and it couldn’t be a more lovely exit.

If you don’t mind me saying so, this is a freekin’ awesome record, period.


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