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Real Gone Music
GOD - Possession
GOD - Possession
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The notion of an avant-garde supergroup is kinda counterintuitive…who gets rich and famous playing music miles away from the mainstream? But if there was ever a group to lay claim to the mantle, the suitably named outfit GOD would be it.
Check out this line-up: saxophonist/composer extraordinaire, Tzadik label owner and Lower East Side legend John Zorn, saxophonist, clarinetist, and founding member of Henry Cow Tim Hodgkinson, multi-instrumentalist and London music scene fixture Steve Blake, British avant-garde guitarist Gary Smith, experimental music mogul Kevin Martin, multi-instrumentalist and producer Justin K Broadrick of Napalm Death and Godflesh fame, double bass player and Evan Parker bandmate John Edwards, Laika drummer Lou Ciccotelli…the list goes on.
Together, GOD made a holy racket worthy of its fine and varied pedigree on its 1992 debut album Possession , to which we suppose the term “industrial jazz” could be applied. It’s a mixture of crushing chords that wouldn’t be out of place on a Swans album with free jazz skronk reminiscent of early ‘70s Miles at his most atonal, punctuated by unexpected moments of fragile beauty. And yet, it swings!
An intense, rewarding listen that lives up to its cult classic status.
Check out this line-up: saxophonist/composer extraordinaire, Tzadik label owner and Lower East Side legend John Zorn, saxophonist, clarinetist, and founding member of Henry Cow Tim Hodgkinson, multi-instrumentalist and London music scene fixture Steve Blake, British avant-garde guitarist Gary Smith, experimental music mogul Kevin Martin, multi-instrumentalist and producer Justin K Broadrick of Napalm Death and Godflesh fame, double bass player and Evan Parker bandmate John Edwards, Laika drummer Lou Ciccotelli…the list goes on.
Together, GOD made a holy racket worthy of its fine and varied pedigree on its 1992 debut album Possession , to which we suppose the term “industrial jazz” could be applied. It’s a mixture of crushing chords that wouldn’t be out of place on a Swans album with free jazz skronk reminiscent of early ‘70s Miles at his most atonal, punctuated by unexpected moments of fragile beauty. And yet, it swings!
An intense, rewarding listen that lives up to its cult classic status.
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