»Metropolis«—a great film, made even greater by Jeff Mills’ live monochrome soundtrack. Ominous keys, wailing organ tones and off-kilter arrangements transform fusion jazz into a menacing soundscape, strikingly similar to the opener of Yes Indeed’s mini-album »King Of Blue«. But »Dream Spot« takes a different turn. Just after the one-minute mark, a soothing guitar enters, dissolving the psychotic atmosphere. This juxtaposition of alertness and New Age-inspired sonic refuge is a recurring theme throughout the mostly six concise tracks by the duo of Laurie Tompkins and Otto Willberg. The transitions are seamless, giving the mini-album the feel of a mini-concert. »Double Doors« marries a dramatic electric guitar with the essential cosmic synths, creating an intriguingly erratic soundscape. Yes Indeed always start with a blank canvas, only to paint it in their idiosyncratic style. Not that there aren’t some genuinely beautiful moments: On »Top Floor«, intoxicating Iasos-esque synths rest on a grounding bassline. And the title track could easily be mistaken for a Plaid creation, while simultaneously incorporating the swagger of rock music. It’s a highly inventive short form listening experience that treads the line of overwhelming with its hyperactivity.
King Of Blue
