Review Summary: Jazz so free it’s otherworldly
Sin Anestesia are a jazz ensemble from Barcelona, Spain.
The Transdimensional Seduction Handbook can be described briefly as a cacophony of transcendental free jazz, exercising controlled chaos and off-kilter dynamics. The question of whether or not it succeeds depends heavily on the relationship between the saxophonists. Given
Transdimensional’s heavy reliance on improvised noises, and the fact that nine out of the eleven members are saxophonists, the product could have easily been an overblown, unlistenable mess.
Fortunately this is not the case, but damn does it catch you off guard. Immediately after the brief comically-forewarning intro to “Cthulu Says Relax” a saxophonist plays a peculiar sound that is almost indescribable. It sounds like a flock of flamingos combined with the effect created by rubbing a balloon, but the proficiency with which it is executed is astounding. The saxophone darts this way and that, with fierce precision. Eventually the song begins to settle in a lull and is almost serene. A vibraphone solemnly climbs and descends, accompanying the wistful saxophones. There is a balance created between chaos and order as Sin Anestesia utilize both harmony and discord. As the track progresses there is an overarching melody courtesy of the two soprano players that occasionally gets engulfed by the tumultuous altos and tenors. It is futile to attempt to lay out the composition of “Cthulu Says Relax” in detail, as the song is so unpredictable it’s maddening. Yes, as the chaos begins to swirl together in the final glorious minute it is certainly enough to evoke feelings of dementia, especially for the more imaginative listener.
In fact, one of
Transdimensional’s greatest attributes is its insistence on the listener’s imagination. “Brunette x Blonde3” contains a bizarre section that sounds like a hilariously over-sexualized swing tune. There are a series of suggestive moans that are so over-the-top you could laugh at their absurdity. Moments like these beg the listener to create a sort of accompanying scenario in order to rationalize the song’s progression. As the song concludes with a beautifully discordant series of overlapping saxophone melodies it becomes ever more confusing what Sin Anestesia intended the listener to feel, if anything.
Yet, perhaps this isn’t a bad thing. Ambiguity of emotion can make for a much more rewarding listen. Being spoon fed a musician's feelings is easily the most effective way to interpret a song without so much as a second thought. But there is something oddly fulfilling with being able to view a musical piece through your own lens without worrying about whether or not you 'get' what they're trying to tell you. “Cthylla’s Love Theme” is easily the most moving track on the album, while still remaining detached enough to stir intrigue. The track manages to be haunting, yet carry a nostalgic tone. The two percussionists employ a creative arsenal of marimba, vibraphone, bongo drums, cymbals, and too many others to name. Often they are overshadowed by the dominant saxophones, but are essential in contributing to the depth in Sin Anestesia’s sound. “Cthylla’s Love Theme” lets the percussionists shine, and by the midpoint the track perks up triumphantly, becoming more focused and less chaotic compared to previous numbers. For a moment
Transdimensional actually feels structured. But as soon as Sin Anestesia regain their footing the song releases in a dismal plummet, and the saxophones create a whimsical tone that further exemplifies the emotional ambivalence of this album.
The Transdimensional Seduction Handbook will prove a difficult listen for those easily turned off by nonsensical noises and illegible context. The music is oddly structured and rarely, if ever, catchy. But, for those willing step outside the box and let their own creativity fuel their perception of free jazz music, it is a worthwhile listen. Dive in.
