Showing that improvisation is a talent more than just playing whatever you feel, Fischer, Kern, and Quehenberger play on Same like a trio that has jammed together for dozens of years, rather than finally coming together to record this album. The six tracks on Same move quickly and with a point, not falling victim to over-indulgent noodling or allowing the vision to get obscured by uneven instrumentation. There is a lot of display within each track, but well done such that the sounds are abundant but not abused, keeping the collective focus contained in music that is as fun to listen to as it must have been to play. Opening with "Wallshaker," Phenomenal World start their album with a piece that could easily play over the opening credits of a modern psychological thriller. The drums are deliberately paced, allowing the keyboard throb to roll forward as the propulsive element. Vocals somewhat back in the mix work also take on the other form of instrument, helping to add dimension to the drum and bass extravaganza. "Bliberdublub" moves in an almost tropical/tribal direction, with quick breaking drums as both the vehicle and flavor. Droning layers of keys and reed instrument feedback give the dancing drums a canvas on which to perform, adding an almost alien vibe, but also feeling like the breeze blowing by while the audience watches the spectacle. Following this shortest track is the longest, "Prime Head." Starting the more abstract section of the album, the trio seem at their most independent on this one, going for expanded trips with their instruments instead of concise, tight jams. While it's a departure from the previous tracks, Phenomenal World still stick to their vision, keeping everything contained and coherent. Sparse and slightly strange, "Prime Head" is a nice eleven minute jam to get lost in. Drifting into the ambient side of experimental, "The Void" is a sonic representation of the formlessness beyond (or within, I suppose), with the band expanding the sound as they go, keeping the listener unsure of the next direction. The most minimal of the tracks on the album, it shows how well the band can stick together through varied approaches. Moving on from this "formlessness," "Blood Falls" pulls in some elements from the first two tracks, but uses them in more of a spacey expression, like "The Void" has somehow swallowed them up, repurposed them, and given the listener a new look at them. Same culminates in a really strong, vibrant, almost noise rock track, "Torn to Pieces." While the drums move back and forth, the hypnotic drones of the reed instruments fill the space with a sense of dread, accentuated by the chaotic keyboard noises on top. The three put on a relentless show before letting the piece break apart into its elements, a noisy oblivion that takes us to the end of the LP.

 

Improvisation is at the heart of musical creation, however, the more moving parts that are involved, the harder it becomes to keep its coherence. Fischer, Kern, and Quehenberger not only manage to keep it focused and driven, but they seem to thrive on it, making Same a highly enjoyable and invigorating album. The motion and movement of the tracks keep the listener on their toes, presenting them with exciting sounds and rhythms, making them yearn for repeat listens. For more