Embedded Files
SEK “Wallenstein’s Garage”
SEK “Wallenstein’s Garage”
By Lord Randall
Though SEK is a new entity, members Stoyan, Edert, and Kazzer (get it?) have been churning in the Berlin gristmills for ages. It’s these crossed paths, shared bills and bands, and a desire to create with one another specifically that has brought them together, and hence, “Wallensteins Garage”, the band’s debut on – where else? – Exile On Mainstream.
The Thirty Years War intertwines with memories of the Battle of Lützen, the cost of glory, the glorification of war, and the sometimes-tenuous thread that binds legend to truth are a heady blend of subject matter for any album, much less an initial offering. Much more so one taking place in a garage populated by a man and his beloved – and preserved – war horse. The title track ambles in, bass and Pat Metheny guitar patterns giving us a chance to take in the scenery, clearly in no race to the end, and allowing the drums to enter naturally. And I suppose that’s my first impression here; over three minutes in, and it feels like I’ve been here for three seconds, so natural, so organic is the growth of the tune here. Around halfway through, the tune gets a bit more rough-hewn but never loses an ounce of the melody or “singability” of either riff or rhythm.
In keeping with the theme of conflict, “Die Schlacht bei Lützen” charges forth, a steed in full and furious gallop punctuated by impressively intricate drumwork (Edert), underlain with the keyboard flourishes that add spice to the already aromatic dish of the album from time to time.
Taking its name from Wallenstein’s horse, “Amore Mio” canters, subtle-sweet jazz fingerings from Kazzer’s bass roaming around the memory of our main character, either recalling or – perhaps – physically stroking his taxidermied friend in fondness. A tribute of sorts? A eulogy?
Gently loping at its start, “Auftritt zu Pappenheim” brings to mind early ‘80s MARILLION and CAMEL and its most expansive, the guitar of Stoyan alternately skyrocketing through the stratosphere or flying free above the sea of fluid earth conjured by the rhythm section and keys, his standout performance of an album already full of stellar work. With “Amore Mios Ende”, SEK reins itself in, a minimalist beginning soon bursting into confident stride, triumphant, heavier in a traditional sense than anything that’s come before, and a fine closure.
That this trio has taken something that obviously was wrought with such care and attention to detail and made it seem completely effortless in execution should easily place this debut as a contender for many year-end lists. Spend some time in “Wallensteins Garage”, fan of quality music. You’ll be back again…and again…
Report abuse