Reviews RCD2154

This latest addition to the ridiculously fertile Norwegian jazz scene is a guitar, sax and drums power trio respectively composed of Tom Hasslan, Jørgen Mathisen and Axel Skalstad. Krokofant´s debut release marries 70s-style prog-jazz stylization with John Zorn skronk-rock ferocity levels, producing a final sound which brings forth daydreams of vintage English improv groups colliding with New York´s No Wave anti-movement. This short opening velley leaves you curious for more.
Rock-a-Rolla (UK)

Combining skronky free improv and prog-jazz firepower this monster riffing Norwegian trio´s new CD is not for the faint-hearted.
Jazzwise (UK)

While the very young Trondheimer Axel Skalstad played on Your New Favorite White Trash and the Oslo-based Jørgen Mathisen on The Core and their spinoff Shagma, guitarist Tom Hasslan is the X in KROKOFANT. If you dig up something, you find one that the tension between Zappa and Iron Maiden catapulted to jazz. Krokofant (RCD 2154) is miles away from the arpeggio frolic in a trio called Sylvia Ganush. When 'Polyfant' Mathisens uses massive baritone bumps to dark pi-pa riffing in the east, all hands point in the direction of The Thing, Noxagt & Co. Spitz trilling Kirrer set the signs for storm so that only 'Superman' (sic ) could tame the colossi that got out of hand. He doesn't do that with mere strength, but by nimble footwork. Amazingly quickly, he tucks one olifant after the other under his arms and collects them. And hums too. Only a stubborn bull, embodied by Skalstad, stands pounding and trampling to the Paso Doble with the buzzing baritone. The dancing continues at 'Bodega' as quick ups and downs in the fourth dimension. Mathisen's tone is somewhat closer to Vandermark's ratio than to "Do or die" by Gustafsson or Gjerstad. Now, however, with a drumming tailwind, Hasslan takes center stage with a crazy joke solo that evokes the spirit of Ray Russell and only swings into the mutual recapitulation just before self-ignition. After this grandiose pyromaniac excess, the tragic 'Thispair', possibly only from homophonic jokes, calls me the mulberry-blooded story of Pyramus and Thisbe to mind. It follows 'Ejs' as a rapid skid, as if the scale were an ice channel. The final 'cast away' then begins to be comparatively airy and flickering. Mathisen blows tribulation, a mild wind rakes sheet metal and strings, the seconds revolve around themselves. Hasslan's fingers, forgotten, find a melancholy melody that ends in a loop into which the saxophone now longingly threads. Until the melody triumphs with its own here and now. So forget Led Zeppelin, Mahavishnu Orchestra, Last Exit. The Time is Now! then begins comparatively airy and flickering. Mathisen blows tribulation, a mild wind rakes sheet metal and strings, the seconds revolve around themselves. Hasslan's fingers, forgotten, find a melancholy melody that ends in a loop into which the saxophone now longingly threads. Until the melody triumphs with its own here and now. So forget Led Zeppelin, Mahavishnu Orchestra, Last Exit. The Time is Now! then begins comparatively airy and flickering. Mathisen blows tribulation, a mild wind rakes sheet metal and strings, the seconds revolve around themselves. Hasslan's fingers, forgotten, find a melancholy melody that ends in a loop, into which the saxophone now longingly threads. Until the melody triumphs with its own here and now. So forget Led Zeppelin, Mahavishnu Orchestra, Last Exit. The Time is Now!
Bad Alchemy (DE)

The first track digs into the ears in a grid pattern and hypnotically peppered. With its Nordic jazz rock, the Norwegian power trio concentrates on sharply chiseled riffs and hard grooves. The exception is the last piece "Castaway", which epically stretches into atmospheric zones before the saxophonist clicks in with hymn-screeching bows towards the end. Originally a duo with guitar and drums, as can be heard in places on the furious track "Bodega", it later became the crocodile with a saxophonist. Mathisen strengthens the riff culture and also improvises solo and in unison with guitarist Hasslan about the basic structure. The music is characterized by early jazz rock (Terje Rypdal), by King Crimson and metallic prog rock. There is also a bit of heat from Last Exit. All of this is cut rhythmically precisely and melted down with short melodic themes. The trio pushes to the limit, but does not exhaust it. There is an aesthetic preference that you do not have to fight for and understand, but can consume without side effects.
Jazz´N´More (DE)

With guitar, trommer and saksofon viser de hvordan progtradisjon kan fornyes og revitaliseres. Krokofant vet hvordan man vinkler et riff og gir det egenverdi. It’s longer, smart and troubled. Hasslan, Skalstad and Mathisen bruker dyktigheten til å skape interesting musikk, og de tekniske ferdighetene krydrer inntrykket. Etter fem instense spor avrundes albumet med "Castaway", som viser hvordan det stilfarne kan håndteres med rå grep. 5/6.
Aftenposten (NO)

The hardtslående trioen består av Tom Hasslan (guitar), Axel Skalstad (trommer) and Jørgen Mathisen (saksofon), og peiser på med fantasi og groover, som en powertriovariant av King Crimson med voldsom frijazz-saksofonist i front. On the debutant plate he'll like it. Og i "Bodega" høres de nesten ut som et funky Iron Maiden. Jeg vil anta at Krokofant vil glede mange konsertgjengere i løpet av året.
Dagens Næringsliv (NO)

The Kongsbergbaserte gitar / trommer / saksofon-trioen Krokofants debut album starter karrig og kranglete, med pisking på kinacymbalen og strict reef, blir så lystig vimsete á la syttitalls Canterbury-scene og ebber til sist ut i In Adequate Act ". Utøylet and controls the same and collect.
VG (NO)

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