Review Summary: A great second release from a rising talent in instrumental music...
Independent releases can be a touchy subject in the mind of many audiophiles. Oftentimes these pieces of music seem a little too raw or unfocused when compared to their major label brethren. Others who stand behind such releases are able to see the charm emanating from the core of the music and dive in headlong in search of a rewarding experience that few share due to the limited promotion and monetary backing of such an understated release. 2013 late-comer "The Kalamazoo Groove" is a perfect example of a record which holds both charm and originality in its focus and scope across multiple genres and moods. This release marks the sophomore effort of Zak Kusz, a native Michigan multi-instrumentalist whom bares few similarities to other songwriters in comparative camps.
"The Kalamazoo Groove" is an eight track release which comprises nearly fifty minutes of music and countless forms of musical expression throughout. All songs recorded for this album are of the instrumental variety yet one never gets the feeling that anything is missing due to the lack of vocals. The former statement is an impressive notion in and of itself. However, when coupled with the fact that all instruments and production were handled solely by the composer the idea alone leads to the daunting realization of a solid musical achievement.
The album opens up with its title track which comes out of the gate swinging. This funk-inspired upbeat musical onslaught can be a tough one to categorize when looking at its execution on the surface. A hip-hop style drum performance drives the track forward while sweeping synthesizers and catchy guitar riffs fill the listener's ears for its full seven minute duration. Now that the composer has your attention he turns his focus to possibly the most musically sound cut off the record, the second track entitled "Hindsight." This nearly eight minute epic ebbs and flows from heavy metal stylings all the way through a jazz-inspired midsection which leads to quick churning ambiance with a brutal yet beautiful finish. The guitar solo outro alone is worth the price of admission and stands out as a focal point in an album full of highlights. Things simmer down shortly for the introspective vibes of "Milwaukee Sun." Part acoustic rock, part dreamy guitar imagery, and part Bonham style drum grooves. This particular tracks eases the listener in and fills their head with some truly impressive guitar phrasings which utilize the wah-effect to its fullest potential.
Unfortunately the albums next track seems to be a curve ball which depending on musical preference may or may not strike out with the listener. "The Meadow" marks a shift in the albums atmosphere to an almost woodsy country vibe which leaves one scratching their head for a short second. This is not to say that this particular track is bad. That's not even the word at all. But it seems a bit out of place in spite of its use of multiple instruments stacked on top of one another in a folksy fashion that brings to mind a bluegrass jam circle in an overpopulated hay barn.
Once the confusion diminishes from the previous track you are swept into a blues-infused jam session complete with keyboard solo's and impressive drums breaks fueled by counterpoint rhythm sections and a blistering guitar onslaught. Tasty licks weave themselves around the backbeats and are guided by swift fingers through several subtle changes which emphasize a style that is flashy yet reserved all in the same stride. At no point do you feel the songwriter is "showing off", though there are plenty of instances during this piece especially which make you think to yourself, "how did he do that?"
The oddly named "Pink Chair In A Dark Room" comes after this jam cut and is a heavily melodic jazz-inspired piece with rising strings and fluid tone which warms the listener's ears and dabbles in modal territory reminiscent of something Miles Davis would spit from his trumpet back in the day. "Pink Chair In A Dark Room" serves as a second focal point of creativity within the album. The second to last song entitled "The Conflict" comes on as the second oddity in the bunch. This hip-hop styled jam holds itself together with a start-stop bassline which adds an enormous feeling of shifting momentum from the songs onset. Swirling keyboards and timid strings round out this song nicely. However, much like The "Meadow" from earlier it seems to take a way a bit from the albums core focus. Bella Vita, the albums closer finishes the album in the strongest of fashions as its simple beauty washes over the listener. Strings and reverbed guitar solos echo throughout the songs first half while the second portion weaves and dips in enchanting feedback arrangements seemingly done with a mix of guitar and keyboards. A lengthy fadeout of this orchestral feedback arrangement closes the album and leaves the listener is a satisfied frame of mind.
"The Kalamazoo Groove" proves its point of relevancy throughout the entire duration of its length and seems to hold itself intact extremely well despite its melting pot of genres and styles. This impressive piece of work from a young musician shows what may be in store for a third outing sometime in the future. The songs' charming personalities help to alleviate the small budget production issues that pop in once in once in a blue moon. Is the album a flawless masterpiece, well no... but it can be argued that it is one of the most gripping instrumental experiences of the last couple years.
