Live At The Astrogarage

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Apparently the first in a series of live recordings and remixes, Lob's Live At The Astrogarage shows real progression from their eponymous debut CD, and that was pretty damn good. Hailed on the kozmigroov list as "the year's finest kozmik jazz offering", it's certainly a contender, in what has been a very strong year for 'kozmik jazz', aka the loose collection of genres being mauled apart by artists such as Ponga, Squarepusher, Four Tet, Cinematic Orchestra, etc. Whilst these bands all veer into different territories - electronica, jazz, rock, techno etc. - Lob are geared towards the drum'n'bass end of things, certainly rhythmically. Their sound overall is principally drawn from early 70s jazz-rock (Weather Report's Live In Tokyo?), though messed up with contemporary paraphanelia: turntable, samples, signal processing etc. This release seems to be largely composed of live recording, with a further 2 remixes (mixed by Richard Scott and Mister Sticky), though significantly perhaps, an alleged Camus quote decorates the sleeve: "The astrogarage is not a place - it's a state of mind". Whilst the part-time goalkeeper and existentialist seems a long way from this very contemporary recording, the notion that these are live recordings which are also the product of the studio would shed some light on this. Given their approach, Lob would seem to want to play live gigs, but not at any particular place. This isn't anything new (see Teo Macero) but it is an integral part of the this reinvigoration of jazz-influenced live playing, with studio technique and processing (post-rock must take some credit here too). Live, the band have developed a real confidence. Peter Marsh's bass playing in particular has become a standout feature of the Lob sound - where previously he was shackled a little too close to the groove, his sound and playing are awesome here. Akin to Bill Laswell's playing with Schutze's Phantom City, Marsh drops some serious, heavy-duty bass here - a similar, squelchy, rubbery kind of tone, often wah-wahed up. Very very good. Andy Cato's live drums and rhythm programming have that insistent propulsion of the best jungle, with a little more flexibility. Uncredited keyboard sounds are akin to the primitive, strangely effective playing Miles Davis used to do. Alongside Marsh, Ralph Littlejohn is again a fine performer, capable of drifting between Garbarek and Shorter seemingly at will. Since the last CD, Ian R. Watson's flute and Hassellesque trumpet has been added, and Paul Simmonds and Rex Casswell's loops and guitar are as savvy as ever. So all in all, a very strong unit is developing here, and this live recording has an intensity and drive which lifts it above many seemingly similar releases this year. Highly recommended.