There are those albums that pleasantly surprise you from the very first track. Especially when you had no idea what to expect at all. the Other, de th\u00e8riot (Kyle Saulnier by his real name) belongs to this category.<\/p>\n\n\n\n
The first track, also the title piece, the Other pt. 1, starts with a mysterious atmosphere for a few measures before transitioning into a cinematic panorama, like a smooth Dirty Harry vibe from the 1970s. A bit jazzy, then, but scripted with the idea of matching suggestive, quite relaxed images, but it ends in a delightful delirium that evokes a kind of chaotic riot. It works very well, as far as I’m concerned. Vibraphone, saxophone, strings, a bit of flute, trumpet, double bass-drums. I love it.<\/p>\n\n\n\n
It continues with The Darkest Hour, based on an eponymous poem by James Baldwin. Pizzicatos from the strings build an introduction with a light character, before being joined by a misty flugelhorn. An autumn landscape gradually unfolds, in which the rest of the ensemble adds its reserved comments. Superb.<\/p>\n\n\n\n
the Sweetest. enlivens the debate with lively textures and rhythms, on which the strings and flute virtually flit about, followed by a very short interlude on the double bass in the form of a dreamy variation on The Sound of Silence.<\/p>\n\n\n\n
p\u00e8res et fils. paints a smoky setting, very slow blues style, first with the double bass (with bow) then passing the baton to the more loquacious baritone sax (accompanied by trembling then romantic strings) before ending with the trumpet. Symbolically, the father, the eldest son, and the youngest? Possible.<\/p>\n\n\n\n
After a second interlude that is quite free, we return to the 1970s cop soundtrack atmosphere with joy, as this time it is rhythmically more propulsive (the Other pt. 2) and ends with a successful evocation of police sirens in an exciting urban setting.<\/p>\n\n\n\n
The finale, I Know the End, moves into the territory of sung pop ballad (the only appearance of a voice on the album), in a pleasant conclusion that becomes considerably more elaborate as you progress through it. The orchestral arrangements are superb.<\/p>\n\n\n\n
the Other is a high-quality album that builds superb instrumental backdrops at the intersection of jazz and cinematic music.<\/p>\n\n\n\n
th\u00e8riot. \u2013 Acoustic Bass, Baritone Saxophone (6)<\/p>\n\n\n\n
Nadje Noordhuis \u2013 Trumpet & Flugelhorn<\/p>\n\n\n\n
Andrew Gutauskas \u2013 Baritone Saxophone,<\/p>\n\n\n\n
Bass Clarinet, & Flute<\/p>\n\n\n\n
Brooke Quiggins \u2013 Violin<\/p>\n\n\n\n
Matthew LaRocca \u2013 Viola<\/p>\n\n\n\n
Samuel Quiggins – Cello<\/p>\n\n\n\n
Jane Boxall – Vibraphone<\/p>\n\n\n\n
Michael Chorney – Electric & Acoustic Guitar<\/p>\n\n\n\n
Daniel Ryan – Drums & Percussion<\/p>\n\n\n\n
Feat. Francesca Blanchard – Voice (8)<\/p>\n\n\n\n