First we have to talk about that cover, which is so striking that it steals the lead from the launch of a new supergroup. At first, it seems that Petulia Mattioli has snapped a photo of a particularly alluring woman taking a selfie while paint drips from her hair. Zero in, and one notices a disturbing detail: that isn’t paint, but skin, and the subject is obvious to her own soft collapse. Consider it a commentary on media, self-absorption, first impressions and the culture of beauty; and does she even have a right arm?
This powerful image and its many interpretations become a perfect entry into the debut appearance by Jabberdarwin, a supergroup of rock luminaries, all known to our readers: Eraldo Bernocchi (Sigillum S), Colin Edwin (Porcupine Tree), Tomas Järmyr (Zu) and bass clarinetist Gareth Davis. Their disciplines each become facets of their sound: ambience, post-rock, dub and doom. The music sounds apocalyptic, yet refined: a score for dissolution.
The album contains only six tracks, none of them rushed, best heard as a suite. “Arctic Anthill” creeps in on a bed of squelch and drums, while the clarinet hangs overhead. The guitars begin to swirl around, and its immediately apparent that nothing in this track – or on the album – will be straightforward. This is a very good thing. A few minutes in, the combination of skittery drums and slinky bass suggests a long-long funk album; then a series of large chords pushes the focus back to rock. And all this before the breakdown! Or more accurately, the first breakdown.
Wisely chosen as the first single, the nine-minute title track begins with a shoegaze shimmer that suggests post-rock; the very length of the piece indicates that it will take its time. Once the opening atmosphere is established, an electronic storm cloud descends, bringing an increase in tempo. At 5:23, a massive chord, then another, then another, along with a rapid shift in drums, launching the track to the next level, where it will not stay, because there are many more mountains to climb.
By now listeners will be breathless, even more so if they are experiencing the title track live. “The Great Devourer” doesn’t exactly provide a rest, but it does slow the pace to a sludgy doom. Metal fans should start here. The entire world seems to be collapsing, which honors the album title; it’s unclear whether the track title references the Ninjago character, but if so, the comparison fits: a corrupted viper that becomes a destructive serpent. “Skimism” then races from the gate before alternating between mosh pit madness and slow head-banging, with a dublike center.
Is society ending? If so, it’s a bittersweet demise. Edwin’s bass provides the warning, Järmyr’s drums the pacing, Bernocci’s guitars the conflict, Davis’ clarinet the elegy. The drone section of “Unmapped Currents” suggests that all is lost, until a slow beat rises again. “Tectonic Lullaby” sustains a languid tempo from beginning to end, and shuffles off this mortal coil with dignity. A final breath, and the soft collapse is complete. (Richard Allen)
