I love these oxymoronic titles, don't you? The obvious question is, Which is it, junk or magic? But why does it have to be one-or-the-other? Why not both?
Indeed, why not?
And I think it is. It's "junk" in that it's not "classic." Maybe it's even "anti-classic" (whatever that is). That is, it pretty much plays by its own rules, not following bebop, hard-bop, post-bop, or free-bop. What else would you expect with bad (plus) boy David King sitting in the drums chair?
It's magic in that the goings-on are pretty special. What we've got here is something scarcely heard before. Thus, it's "magic" sheerly by being "unique." But it's also magic by being beguiling.
One of the things that makes this disc magic is its use of electronics, a vital, even essential feature of its fascinating sound signature. Take the first number, the title cut, "Junk Magic." The MO's pretty much out on the table for all to see: It starts with slow, dreamy sax and a static keyboard figure, setting a mood of soporific haze, when, suddenly, weird electronics creep in, along with a thudding drum figure. All-at-once we're in an altered state, an alien soundscape, with industrial thumps and Paradise Lost. But you know what? It's all somehow weirdly consonant with the preceding vibe, and it makes its own kind of crazy sense (with Redemption lurking in the shadows?).
Once broached, the electronics are front-and-center pretty much from here on out; once the cat's out of the bag, no sense in playing it coy. Thus, "Mystero," the next cut. Ringing, bell-like electronic tones; bass drones, sax moans, drum groans, all in some kinda Kubla Khan gamelon crazy-world.
And so on.
Pretty magical, methinks.
For me, this represents the apogee of Thirsty Ear's Blue Series gropings (not entirely successful, it must be admitted)--thoroughly modern, but with a kind of surefootedness and je ne sais quoi one is always relieved to encounter among the avant-garde.
I for one am willing to forgive any number of clunkers (and the Blue Series has been saddled with its share lately) for music of this transcendent, translucent, transmogrified gloriousness.
Must be believed to be heard.
