After The Exhibition, by The Wrong Object

After The Exhibition

by The Wrong Object

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Peter Jones Well, the whole thing is great. Detox Gruel and Glass Cubes are special but I really loved the madness of Jungle Cow (1, 2 and 3). Favorite track: Jungle Cow, Part 3.

Dr. "Buzz" Frenzy (Matthew J Hesse) thumbnail

Dr. "Buzz" Frenzy (Matthew J Hesse) AtE was like a familiar friend on first listen. On every spin I’m struck: So quickly it wormed into my memory! Even after long absences each twisty, reedy breath still delights, excites; each electric thrum still enervates, resonates. Sweet and sharp, jazzy and jagged, complex yet smooth. Eminently hummable brain dances! And despite my love (preference?) for instrumentals, Glass Cubes slays like Carla Bley meets Der Mann im Fahrstuhl in an absinthe dream. The captivating Susan Clynes! Love it. Favorite track: Glass Cubes.

Carsten Pieper Favorite track Glass Cubes is the only one with vocals, provided by the formidable Susan Clynes. The rest is an amalgam of jazz, progressive rock & "avant rock" that strongly remind of Frank Zappa's (who's often named as influence) not too far-out bigger band offerings. Favorite track: Glass Cubes.

jose maria majo jimenez the music is the best xdxd Favorite track: Detox Gruel.

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	1.	Detox Gruel 04:14
	2.	Spanish Fly 05:20
	3.	Yantra 08:03
	4.	Frank Nuts 03:39
	5.	Jungle Cow, Part 1 05:41
	6.	Jungle Cow, Part 2 04:19
	7.	Jungle Cow, Part 3 05:24
	8.	Glass Cubes 08:29
	9.	Wrong But Not False 05:25
	10.	Flashlight Into Black Hole 03:05
	11.	Stammtisch 05:58

about

Belgian prog heavyweights, The Wrong Object, make a spectacular return to center stage, with a studio album of brilliant original compositions -- and epic proportions! After a five-year absence, After The Exhibition showcases a variety of fresh, powerful material, masterfully delivered by a capable, cohesive new lineup. With their aesthetics still rooted in an array of storied inspirational models, The Wrong Object ventures further into hybrid musical territories -- pushing the boundaries of progressive jazz, rock and contemporary music, yielding results that are as stunning as they are superb. ... and the evidence of this -- After The Exhibition -- is overwhelming. Perhaps the influence of the late Frank Zappa has never been more apparent. The songs continually weave, duck, dart, and 'stop on a dime,' while exhibiting the "controlled reckless abandon" and a similar zany, humorous approach to both harmony and melodic/thematic motifs, akin to that which characterized his work. This is a herculean effort; one that goes a long way in filling the very noticeable long-standing void left in the wake of Zappa's departure. After 10 years of an existence marked by extensive touring, recording and numerous collaborations with international jazz and rock luminaries (Elton Dean; Harry Beckett; Annie Whitehead; Alex Maguire; Stanley Jason Zappa; Ed Mann), the band has reinvented itself in remarkable fashion: morphing from a quintet to a sextet, while embarking on exciting new sonic destinations. The music is engrossing, featuring a more pronounced use of electronics and vocals, while preserving their trademark energies and unique conceptual continuities. The inclusion of the hugely-talented, prodigious keyboardist Antoine Guenet (who is also the leader of MoonJune's recording artists SH.TG.N, and fresh new member of the legendary Belgian rock-in-opposition and avant-jazz-rock luminaries, Univers Zero) and two fabulous sax players (Marti Melia and Francois Lourtie), has given the band’s sound an unprecedented harmonic richness and rhythmic complexity. Combined with the foundation provided by (the also new member) bassist Pierre Mottet and (one of two remaining original members) drummer Laurent Delchambre, the band's charismatic leader and founder, Michel Delville (guitar and electronics), finds himself surrounded by a tight, razor-sharp unit that seemingly knows no bounds. Every so often an album comes out which proves to be a defining moment for both a group and its respective genre; this is just such an album. Delightfully quirky, undeniably bold and adventurous, but ultimately most satisfying: After The Exhibition is a huge triumph. This incredible new release shatters the progressive music template and dances madly on its remains. The Wrong Object have cemented their position among the genre's most elite, vital -- and potent! -- voices. This superb work is immediately essential -- an "instant classic!" It gets sweeter with each listen, and it will take up permanent residence in your regular CD rotation. This is profound progressive music at its most original, ambitious and achieving.

credits

released June 25, 2016

MICHEL DELVILLE: guitar, Roland GR-09
ANTOINE GUENET: keyboards, vocals
MARTI MELIA: bass & tenor saxes, clarinet
FRANCOIS LOURTIE: tenor, alto & soprano saxes, voice
PIERRE MOTTET: bass
LAURENT DELCHAMBRE: drums, percussions, objects, samples
with Special Guests
BENOIT MOERLEN: marimba, electronic vibraphone (Tracks 2, 3, 5, 6, 7 & 11)
SUSAN CLYNES: vocals (Track 8)

Mixed and mastered by David Minjauw, at Studio Simonne, Brussels, Belgium.
Produced by The Wrong Object.
Associate Producers: Guillaume Dauzou, Henri Dedeken, Kyle Reese, Matthew Wright
Executive Producer: Leonardo Pavkovic

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