FONTANELLE
Southern Lord is a label really known for releasing metal artists. How did you come to be involved with them? I have known the Lord for many years. Our bands (Jessamine and Engine Kid) used to play together in Seattle in the early 90s. I helped record Sunn O)))'s White 1 and 2 and toured with the band for a few years after that. During the recording of both Altar and Monoliths, I got a chance to hear what Randall Dunn, who recorded those sessions, could do for a record. Your music is a real fusion of so many styles, built on jazz. The ‘jazz-fusion’ description really seems to fit what you do. Would you agree with that? It is definitely sonically based on the jazzrock fusion of the early 70s. This is what Fontanelle has been building to over the many years of improvising. You can still hear us in the compositions, but the filter is definitely Oakland in 1973. I’m guessing your influences are many and varied, taking in a wide spectrum of styles and genres. Can you tell me a bit about them? I imagine that you can guess the obvious ones. I think the most influential thing that happened to create this album was Julian Priester playing on Monoliths and Dimensions. A Herbie Hancock, Mwandishi era player lifting Sunn O))) into the light with a beautiful solo at the end of Alice was absolutely transformational.
On The Jazz WORDS: IAN GIRLE
THERE ARE MANY MUSICIANS AND BANDS IN THE METAL SCENE WHO ARE INSPIRED BY JAZZ-FUSION. FONTANELLE MAY NOT BE A FULL-ON ASSAULT ON THE OLD GREY MATTER, BUT THEY STILL MANAGE TO PACK QUITE A PUNCH ON THEIR LATEST ALBUM, ENTITLED VITAMIN F. IAN GIRLE CAUGHT UP WITH REX RITTER TO REMINISCE ABOUT THE STATE OF JAZZ-FUSION, WHAT IT’S LIKE BEING SIGNED TO SOUTHERN LORD—AND POST METAL, LOTS OF POST METAL.
Historically there has been a backlash against fusion as a musical movement – certainly in the UK – but we seem to have come full circle to a place where people can accept all genres, and where creativity, musicianship and innovation are positively embraced. What has been the experience in the United States? A backlash is necessary when any genre becomes too excessive and cheesy. I think this is an honest, straightforward record. I feel we are lucky that people have been so positive and accepting of the record. It seems to me that the post-metal genre has opened minds again to the idea that music can be a journey; it doesn’t have to be built on one particular riff, but can be more fluid in its approach. Do you see any commonalities between what you do and bands like Isis or Australia’s Dumbsaint?
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