Blue Lake - The Animal

A Closer Listen

January’s Weft introduced a new phase in the career of Copenhagen composer Jason Dungen, where Blue Lake began to evolve from solo artist to band.  The Animal solidifies this shift.  Dungen continues to play ten instruments, but leads a host of other musicians and invites their contributions in the compositional and improvisational processes.  The shift makes The Animal feel fluid and dynamic; what one might call colorful, in contrast to its black and white cover.  The democratization of ideas honors the theme of the set, which views humans not at the top of a hierarchical chain, but on an equal level with other members of the animal kingdom.  Without reading such words, one must intuit them through the music and the overall feel, each instrument a different beast.

In “Circles,” the sound is already rich in hue, shimmering with an easy grace.  The players trust each other, which allows the music to develop at its own pace.  Midway through the piece, choral vocals develop, a harmonic facet that underlines the theme.  A hint of crickets can be heard on the ensuing piece, a touch of the natural world, although it may also be said that Appalachian-style music (even when recorded in Denmark) already possesses a connection with river and field.

Two personal tracks, “Berlin” and “Flowers for David,” operate as odes to a place and a person, the first a bit deceiving as it was written in Berlin but dedicated to Texas; one may recall that Dungen earlier lived in the States, and that “Dallas” was a highlight of breakthrough album Sun Arcs.  The pace slows, allowing time for reflection; “Flowers for David” focuses on Dungen and fingerpicked guitar, as the artist pays tribute to a fallen friend.

By the later tracks, “Strand” in particular, one can hear intimations of post-rock, especially the freeform compositions of Do Make Say Think, long overdue for an album of their own.  The track rises to an uplifting crescendo, the album’s sonic peak.  In light of the title, one might view this as a reference to the weaving of Weft.  In this case, the individual strands are the solo instruments that become part of a unit, playing as one.  This sense of camaraderie is extended in the title piece as the players return to wordless singing, a calm choir.

The pace quickens at the end of the penultimate piece, leading to closer “To Read,” in which the percussion plinks like a typewriter and the players complete their uplifting story.  Dungen’s music has always been warm, but the difference between Sun Arcs and The Animal is like that between a fireplace and a campfire.  It’s wonderful to be warm alone, but even better to share that warmth with others, not only in a physical circle, but a circle of life.  (Richard Allen)