{"id":2556,"date":"2021-02-24T23:19:26","date_gmt":"2021-02-25T05:19:26","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=2556"},"modified":"2021-06-24T16:57:58","modified_gmt":"2021-06-24T21:57:58","slug":"thumbscrew-never-is-enough","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-never-is-enough\/","title":{"rendered":"Review: Thumbscrew’s ‘Never is Enough’"},"content":{"rendered":"\n

It hasn’t even been a year since Thumbscrew released their superb record in tribute to Anthony Braxton, but the trio is already back with Never Is Enough<\/em> (Cuneiform Records, 2021). Braxton’s influence is still apparent, especially in the more rigid moments, but this album is a completely different experience. For much of the runtime, the trio opts for a more contemplative approach. Listening to it, it’s easy to see why Tomas Fujiwara (drums), Mary Halvorson (guitar), and Michael Formanek (bass) have become constant fixtures in the avant-garde jazz scene. <\/p>\n\n\n\n

The album is full of intriguingly warped beauty, with the Halvorson-composed “Heartdrop” being a prime example. The track has the guitarist in mesmerizing form, wielding a combination of smooth technique and bent effects to craft a gorgeous theme. From Fujiwara’s understated brushwork to Halvorson and Formanek’s classy solos – everything about “Heartdrop” emits a captivating elegance. Fujiwara’s “Unsung Procession” is another brilliantly reserved exercise where bells and the hiss of the drummer’s brush are key to the spacey atmosphere. Formanek and Halvorson play with a calm, impressive connection, moving between reflecting and shadowing each other before both take great solos. <\/p>\n\n\n\n

Much of Never Is Enough <\/em>is patient, but that does not mean any of the usual fire has left this inventive trio. Halvorson’s rock-infused “Sequel To Sadness” is driven by an icy sequence of guitar chords that manages to be stern and catchy at the same time. Formanek’s “Never Is Enough” begins in a relatively minimalist fashion and ends in a storm. Fujiwara becomes increasingly more thunderous as Halvorson’s distortion-drenched guitar cuts through the chaos. It’s a fantastic song that suggests that Thumbscrew could probably dabble in psychedelic metal if they wanted to. <\/p>\n\n\n\n

Never Is Enough<\/em> is another strong showing by Thumbscrew. The album has an interesting range of styles that includes Braxton-like dexterity (“Through An Open Window”) and twinkling passages of otherworldly darkness (“Scam Likely”). This is the perfect starting point for those unfamiliar with the trio’s work – and fans will not be disappointed. <\/p>\n\n\n