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Smell The Difference

by Hilmar Jensson

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1.
Smell The Goodness 05:38
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2.
Froth 07:13
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3.
Pittles 04:57
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4.
Kryppa 05:42
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5.
Klondike 05:39
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6.
Flimbergeist 06:02
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7.
Clifton 06:20
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8.
Klinglet 03:41
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about

TYFT was a monster in its earlier incarnations, an unholy beast created from the collision of jazz skronk heavy metal crunch and post-rock buzz. Hilmar Jensson’s bone-crunching guitar wed to Andrew D’Angelo’s fist-through-the-bell alto and Jim Black’s war-machine drumming made for a formidable aural assault.
In which case the expansion of the band from three to five pieces is akin to watching Godzilla stomp your city into ashes, only to turn around and realize that a well-rested Mothra is swooping down for the leftovers. The addition of Chris Speed’s tenor and Peter Evans’ trumpet allows Jensson to compose for a two-front attack, letting the horns carpet-bomb from the air while he and Black steamroll the ground. Evans, whose playing makes use of one of the most expansive palettes of any modern trumpet player, was added as a special guest for a German festival gig, and proved to be the final element that inspired the Icelandic axeman to compose for an expanded TYFT.
“It was very inspiring for me to have the possibility of writing more harmonized melodies and counterpoint, both melodically and rhythmically,” Jensson says. “After writing just for the trio, where the possibilities are quite limited, this was a very welcome opportunity.”
Jensson made the most of that opportunity, whether making the horns dance together and then devolv into corrosive shrieks on “Froth” or simply combining them into the catchy prog-pop melody of “Kryppa” or the adrenalized anthem “Klondike.”
Where the band’s previous albums could be referred to as rock-inflected jazz, “Smell the Difference” flips the equation. The disc opens with the lurching riff of “Smell the Goodness”, which could more easily be imagined blaring out of a denim-clad headbanger’s much-abused car stereo as from an audiophile jazz aficionado’s pristine system. “Pittles” is a power-chord monolith, emitting an insistent car-alarm blare from the horns until the whole thing erupts into a guitar/drum riot. “Clifton” is a meet-in-the-middle hybrid of the two, where the horns roar as heavily as the guitar, and the guitar launches into inventive, surprisin improvisations.
It’s not all aggression, however; witness the skittering nervous-energy funk of “Froth” or the way in which the craggy textures that open “Flimbergeist” give way to Speed’s and D’Angelo’s high-tension call and response juggling. And “Klinglet” ends the disc on a note of sublime atmosphere, where even the mid-song entrance of a sludge-heavy riff that would turn Tony Iommi’s head can’t dispel the sense of tranquil airiness.
The members of TYFT are part of a tight-knit scene and cross paths in a variety of different contexts, evidenced in the way that composition blends into improvisation throughout these pieces. Jensson has corralled a powerhouse unit that blows past fusions into an omnivorous genre all its own.

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released June 23, 2009

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Hilmar Jensson Reykjavík, Iceland

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