From its earthquake opening, Nethering announces itself as a bold new statement from avant-garde saxophonist Colin Stetson, joined here by drummer Greg Fox and bassist Trevor Dunn. Stetson, who is probably best known for his solo saxophone work, shows himself to be in excellent form in an improvised ensemble setting, here showing an uninhibited aggression that I haven’t heard from him before. Fox, who established himself working with black metal band Liturgy, brings a similarly hard-edged approach to the record, whilst Trevor Dunn’s explosive bass playing adds a furious intensity and momentum to the music. Dunn and Fox worked together previously on Sally Gates’ 2023 record Deliriant Modifier, and they have clearly established a strong connection that makes them a terrifying pairing.
Fans of Stetson will quickly hear similarities to his ‘post-everything’ jazz metal quartet Ex Eye, who conjure up a similarly affronting sound (and of which Fox is also a member). But SFD go further: less constrained by compositions, more free to open up and explore the sonic potential of the grouping. This record brings in more elements of drone and noise, and feels generally more orientated towards ‘sound’. There is also an extraordinary range in the music: from the unabated to the subtle. The second track, Reclaimer, starts softly, but without ever losing the intensity that characterises the whole recording, and Molemoss maintains a fragile but ominous quiet. The musicians are always working with rather than against each other, allowing them to rise and fall as one, and this gives a clear sense of structure to the album.
It sounds to me like the first three tracks were recorded as one improvisation, then the next two tracks, then the final two. The shape of the music as a whole is cohesive, contrasting and always with a clear sense of direction, and it is testament to the impressive production that the track changes weave so seamlessly together. The overall production is very impressive: even at its most explosive, nothing is lost of any of the three instruments, but the detail doesn’t compromise the rawness of the playing either.
Stetson’s characteristic vocalisations, which are amplified by a close contact microphone around his throat, add a ghostly fourth voice to the mix. Unlike on some of his solo records, where these vocalisations have a more angelic quality, here it is more of a demonic roar. But it is his abrasive saxophone sound that generates the most intensity, moving the recording towards noise. Moleman, the fourth track, is absolutely massive: Dunn and Stetson weave together complex lines and harmonics, both demonstrating their virtuosity, whilst Fox relentlessly propels the music forwards. It demonstrates the close relationship between metal and improvised music: both genres require absolutely mastery of the instruments, with a similar emphasis on raw sound; in many ways, this record moves closer to the former. This crossover sound of will surely attract a wider audience than improvised music normally does, by its blending of genres and approaches.
Netheringis loud, abrasive and boundary-pushing. The album notes indicate this is the first release in a series of collaborations led by Stetson, which can only be a good thing, and a comment Stetson made at the album launch party on Bandcamp suggests that this trio has more recordings in the works. The album comes in at just after forty minutes, but its succinctness is a virtue, especially with more to look forward to in the future. Highly recommended.
Netheringis available now on Bandcamp:
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