3 Jun 2019

The New Noise interviews DJINN

They say:

Let's start with the company name. Jinn, or djinn in Arabic, would be roughly translatable as a goblin. A supernatural entity, cited in the Koran and entered into the mythological / folkloristic imagination, halfway between the angelic world of divinities and the diabolical world of human beings. More precisely, they are "spiritual spirits" who infested deserts and inspired poets. Mysterious creatures perhaps portrayed in black and white on the cover artwork. Equally mysterious is the formation of the present duo, composed by members of the Swedish bands Goat and Hills, both not by chance in the catalog of the psychedelic Rocket Recordings, which gives this instrumental debut to the press. Rocket, who has recently released Josefin Öhrn + The Liberation's third album and is about to release the new work by the Russians Gnoomes, even though the British label's 2019 has been branded for now especially by the sensational Wraith of Teeth Of The Sea , between noise, electronics and free-jazz.

The DJINN project moves even more in a free-jazz perspective, so much so that it is considered - according to the press notes - "the first properly jazz record" by Rocket, with the ghosts of Alice and John Coltrane moving in the background. In this sense the first track in the lineup is clear, entitled "Jazz Financed" and gradually more and more cacophonous. The "Algäbbanem" and "My Bankaccount" are in the back, well in line with avant-afro-rock astral trends. The most fascinating and basically peculiar episodes, however, are those in which one turns towards obscure metaphysical dimensions, as in the luxuriant and pacifying first extract “Le Jardin De La Morte”, a step away from the new age, or in the graceful melancholy in point of sheets of "Ghostdance", which with its delicate armory of wood, keys and percussion would not mind Angelo Badalamenti. "Fiskehamn Blues" keeps an ear turned to the East, while "Rertland Bussels" anagrams the name of the philosopher Bertrand Russell paying homage to the words as in a transcendent voodoo rite. Until the closing by the ironic assonances of "Djinn And Djuice". Neo-monks of worship.

See the rest here: The New Noise