My review of Sonar's Static Motion, today at All About Jazz.
At a time when more recordings are released than ever before, it's rare to find a group that not just the changes way music is made, but the way it's defined. That description could easily fit Swiss pianist?% Nik Bartsch and his longstanding group Ronin, its Ritual Groove Music jettisoning overt virtuosity and conventional form for ultra-disciplined structural constructs and a deeper kind of interaction amongst its members. The same can be said, however, for Sonar, whose A Flaw of Nature was, not coincidentally, released on Bärtsch's Ronin Rhythm record label. That 2012 debut garnered the Swiss quartet some serious critical attention; with the broader exposure possible from alignment with the intrepid Cuneiform label, Static Motion is sure to garner even more.
It would be a mistake to dismiss Sonar as a guitar-centric version of Bärtsch's Zen Funk, even though the same kind of deep determinacy and avoidance of virtuosity are clear connecting points. No, Sonar has its own language, based on tritone harmonics, poly- and isorhythms, and Stephan Thelen and Bernhard Wagner's interlocking guitars. Two guitarists is usually a recipe for chops- and effects-heavy playing; Sonar's six-stringers not only eschew typical guitar gymnastics but, for the most part, the plethora of electronics so often used today—opting, instead, for relatively clean tones and natural methods to introduce tonal variety. There's no looping and minimal post-production editing; instead, just four players interacting and, indeed, improvising with faultless accuracy on three sets of three compositions—a triptych of triptychs—that are hypnotically trance-inducing while, at the same time, absolutely commanding of conscious attention.
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