Released - 8/4/09
Label - Indirecto Records
BLURB - Nobody does organized chaos better than MMW. With their third installment in the 'Radiolarians' series, 'III' does not disappoint. Everything is here from straight ahead jazz, to rock, to blues, to electronica, to some psychedelic tones. MMW tends to be all over the map with their rhythms and grooves, sometimes drifting into the world and avant guarde arena. What makes the trip into experimental jamming worth it, is when the trio comes together and clicks...it's usually amazing and validates whatever ride they just took you on. On 'Radiolarians III' there is, surprisingly, more results than I've come to expect from a MMW record. Don't get me wrong, this album is pretty crazy and goes to a lot of different places, but the listener definitely gets their moneys worth.
Rating - 8 out of 10
FULL STORY - The record starts out in traditional Medeski, Martin and Wood fashion. 'Chantes des Femmes' starts off slow with organs peppering what sounds to be like some kind of Middle Eastern beat. Then at about the 2:30 mark a great jazz piano comes in over drum groove and yields something that one might hear in the background of Charlie Brown episode. It's very in-the-key of Linus. Toward the end of the track the song gets very open and has a lot of air. This turns into a transition into the second song, 'Satan Your Kingdom Must Come Down,' which delves into some darker, unorganized piano play - not the best song that you would want to introduce a non-MMW listener to.
'Kota' is very light and again journeys outside of the states to get it's feel. The beginning of the track sounds like it is from India. I don't know how else to describe it. Pianos eventually come in and do battle with what sounds like a harpsichord and create a dissonant push and pull tone. 'Kota' much like 'Satan...' is another wildly outside the box song, filled with chaos and unrest.
The classic MMW jamming comes in with 'Wonton.' The organs sound amazing and the grooves seem endless. John Medeski always amazes me. His piano work is truly unique. In the same way you know a Trey Anastasio guitar solo, or a Jerry Garcia solo, as soon as you hear his keyboard and piano functionality, you know it's John Medeski. 'Walk Back' is also another great jam. There is almost a childish tone to this music, and it just sounds fun. I'm not convinced that a fisher price keyboard wasn't used for the opening of this track. 'Walk Back' goes back and forth between a large assortment of keys, organs and pianos, even some electronic music.
There's even more Charlie Brown-esque music on, 'Jean's Scene.' Paul Carter is somewhere enjoying this. 'Jean's Scene' is a little more experimental than 'Chantes des Femmes' but it works. The chord selection and intellect that goes into the some of the band's runs (bass and piano) is astonishing. It's very precise and rigid, yet creative and free-flowing simultaneously.
'Gwyra Mi' closes the record with some heavy bass and psychedelic organs. There's a reggae feel on this, if you listen close enough, which is countered with a fairly pop riff that permeates the tune. Throw in some wah pedals, a little digital delay and bunch of other effects and you're good to go.
This was everything I expected it to be. Medeski, Martin and Wood always bring the creative juices and regardless of where all of their chaos takes you, you always wind up enjoying the ride and the end result. No real surprises - just MMW doing what they do.
Tracks
1.) Chantes des Femmes
2.) Satan Your Kingdom Must Come Down
3.) Kota
4.) Undone
5.) Wonton
6.) Walk back
7.) Jean's Scene
8.) Broken Mirror
9.) Gwyra Mi
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