GØ - Ævir, amen

​GØ

Ævir, amen
Tutl Records; 2024

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​​By ​Dino DiMuro​

It’s not often that I get to review a band from a place I’ve never heard of (Tórshavn, Faroe Islands, which I believe is part of Denmark) in a language I can’t find on my keyboard! GØ is a “cinematic contemporary jazz band” which was founded as a quartet in 2015 and released their DIY debut album GØ in 2020. This time around they’ve enlisted producer Per Ingvald Højgaard Petersen (known for Eivør, Lea Kampmann and EMP) plus a five-piece horn section for their new concept album titled Ævir, amen.

GØ draws inspiration from the sixties and seventies, and indeed I can only compare them to American bands Umphrey’s McGee, Material and especially Roxy-era Frank Zappa. The band’s press release describes their sound as “fusing elements of jazz, rock and cinematic influences,” and boasting a rebellious spirit in their boundary-breaking compositions. They also explore poignant Faroese cultural and political matters (such as Denmark's control over the Faroe Islands) but I cannot understand their lyrics!

The opening powerhouse “Javnaraflokkurin” made me think I was in for a live album (rapturous applause at the end) but this appears to be the only live track. As mentioned, the band shares a lot of qualities with Frank Zappa’s big band matched with the compositional complexity of early Van Dyke Parks. This track starts with a shuffling beat, haunted house piano and various percussive sounds. A cool jazzy theme takes shape from the disparate pieces, and when the horn section kicks in you really feel the connection to Frank. It’s melodically beautiful but still experimental in structure. The saxes, horns and pretty much everyone else goes into crazy jam mode for the last two minutes. “Loysing i dos” begins with amplified spoken word, followed by a piano melody very similar to the Beatles’ “Sexy Sadie.” The main body of the song features a spaghetti western-style guitar, which is an element that will reappear later. The keys create a foreign film soundtrack ambience over which a sax is allowed to “blow its nose” with an amazing build and climax.

“VinstraHogra” is based on retro-sounding analog synth sounds matched with talkbox-like guitar and bombastic vocal melodies, like the theme from an alternate universe sitcom. “Daislandsgade” features jagged math rock rhythms and insouciant chord progressions, all held together with sawing feedback and improvisational eruptions. “Ivi a Tinganesi” is a big change, sounding like a Hit from the 1950’s MOR charts, or something my parents would have enjoyed with a Bloody Mary. “A Skarv” shoots ahead into the mid-60’s with a funky electric piano workout crossed with Henry Mancini horns a la “Peter Gunn.”

“SvØvnloysi” begins with a tentative xylophone melody, followed by guitar and horns and building to a powerful, repeating motif before erupting into an amazing jazz-prog celebration full of joy and noise. The title (and final) track “Ævir, amen” sports a Twilight Zone-like melody, providing the backing for a lonesome, wailing saxophone and unsettled spirit background wisps. I’ve already made the Zappa comparison but these melodies really do sound like prime big band Mothers! Toward the end the sax steps aside for some mysterioso organ and a relatively quiet conclusion.

This music figuratively and literally comes from a different world! I was unsure what to expect but was thrilled by the chops and inspiration throughout this set. Check it out!

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