1 Song

EDITORS’ NOTES

The Necks—an Australian trio consisting of keyboardist Chris Abrahams, bassist Lloyd Swanton, and drummer Tony Buck—have been releasing recordings of their finely shaped improvisations since the late '80s. There are elements of jazz, ambient, rock, and other styles here, but their music can’t be reduced to a single genre. Like a number of The Necks' albums, Open consists of a single lengthy track. Droney monochord fingerings and shimmering chimes mark the start of the piece. Melodies that evoke Chinese, Indian, and Native American music come into play. Psychedelia and the great British improv unit AAM spring to mind, and so does the free-meter alap section of a traditional raga. Open also evokes the spiritual jazz of Alice Coltrane, Pharoah Sanders, and others. Despite a sense of overall stasis, the sounds keep changing and engaging. A few delicious bass tones might make you think the band is ready to blast off, but they don’t; instead they provide more subtle pleasures. Buck can supercharge the moment with a thwack or two. And Abrahams—whether spinning out minimalist passages on piano or sustaining a just-right chord on organ—is excellent.

EDITORS’ NOTES

The Necks—an Australian trio consisting of keyboardist Chris Abrahams, bassist Lloyd Swanton, and drummer Tony Buck—have been releasing recordings of their finely shaped improvisations since the late '80s. There are elements of jazz, ambient, rock, and other styles here, but their music can’t be reduced to a single genre. Like a number of The Necks' albums, Open consists of a single lengthy track. Droney monochord fingerings and shimmering chimes mark the start of the piece. Melodies that evoke Chinese, Indian, and Native American music come into play. Psychedelia and the great British improv unit AAM spring to mind, and so does the free-meter alap section of a traditional raga. Open also evokes the spiritual jazz of Alice Coltrane, Pharoah Sanders, and others. Despite a sense of overall stasis, the sounds keep changing and engaging. A few delicious bass tones might make you think the band is ready to blast off, but they don’t; instead they provide more subtle pleasures. Buck can supercharge the moment with a thwack or two. And Abrahams—whether spinning out minimalist passages on piano or sustaining a just-right chord on organ—is excellent.

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About The Necks

Unclassifiable, the Necks stand aside any other musical act Australia has given birth to. Neither jazz nor rock, this deceptive piano trio has kept a single line of conduct throughout its career. They usually start playing a very basic melodic and rhythmic figure, and then keep going at it for an hour, gradually introducing microscopic changes and variations. Some critics have compared them to Krautrock groups like Can and Faust. Others find similarities in the works of minimalist composers like LaMonte Young, Tony Conrad, even Philip Glass.

The Necks were formed in Sydney, Australia in 1987. The original lineup of pianist Chris Abrahams, bassist Lloyd Swanton, and drummer Tony Buck has remained stable, even though they all lead busy and highly different careers. Abrahams is an acclaimed session keyboardist who has released a couple of solo piano albums, has written music for film and television, and toured the world in 1993 with the rock group Midnight Oil. Swanton is a much in-demand session jazz bassist and a regular of the jazz festival circuit. He has played in the Benders and the Catholics, and accompanied Stephen Cummings and Sting. Buck spends most of his time in avant-garde circles, with multiple collaborations and projects. His best-known engagements have includes the trio PERIL and the klezmer-punk group Kletka Red.

The Necks' first album came out in 1989 on their own label, Fish of Milk. The reviews were enthusiastic, most people praising the group's ability to blend simplicity and experimentation. They would play whenever the three musicians were in Australia at the same time. The next three albums experimented with the format, integrating occasional guests (Stevie Wishart on Aquatic), electronics, and more. But, by the 1998 Piano Bass Drums, the recipe had become fixed and would not change anymore.

In 1996, the Private Music label released Sex in the United States. It was the Necks' first exposure on the North American continent and it did not get them far. But Europe was catching on and the group began a series of annual tours there. Piano Bass Drums and the soundtrack for Rowan Woods' film The Boys both received Australian award nominations in 1998. The more energetic, almost space-rocking Hanging Gardens, released in 1999, opened more doors, including a first American tour in late 2001. The album was picked up for distribution by the British avant-garde label ReR Megacorp the same year. Another North American tour in 2002 followed the release of Aether, the group's studio masterpiece. Drive By followed in 2003, and took home the ARIA Music Awards Best Jazz Album prize in 2004.

Subsequent albums Mosquito/See Through (2004), Chemist (2006), Silverwater (2009), and Mindset (2011) continued to bring in the accolades, delivering consistently fresh takes on the trio's signature riffing. In 2013 they released Open, which like its 2015 single-track follow-up Vertigo, saw a return to the long-form improvisation of their earlier works. Arriving in 2017, the ambitious Unfold, their 19th studio album, was a double album featuring four tracks. ~ François Couture

Top Songs by The Necks

Top Albums by The Necks