The Chicago Underground (whose members vary in number on their various releases) uses the malleable forms of jazz and electronic music to explore sounds and thoughts that could only be captured in the vistas of these boundless styles. Slon is an experiment in forms and styles, exploring the brassy expressionism of both genres to deliver a stirring display of meaning and intent through their inspired tones.
The opening squalls of "Protest" are immediate, like a fist raised in the air, standing out with a direct intensity that breaks out of the din of high hats and ride cymbals that pepper the air. As the track progresses, the melody and rhythm begin to double back on themselves through overdubs, slightly out of phase but still in concert with one another, building and moving along the same path. The tension created by these overlays increases the urgency as the trio begins to sound like a throng of voices all searching for the same step. "Zagreb" begins with a low rustling of machinery in the distance, or warm air rushing through a subway tunnel, before a slinky bass line and moody cornet overtake the scene, like steam rising off a rain slicked city street. Mazurek's horn playing is intensely sultry, an alluring hook into the dusky rhythm work of bassist Noel Kupersmith and drummer Chad Taylor. The album's title track blends an ethereal, disembodied horn with a clattering of aggressive blips of electronica, transporting the initial impulses that would typically emerge from the end of a horn or drum stick deep through a processor. The percussive, pixilated energy highlights that while the medium may grant artists a wider selection of ways to express themselves, it is still up to the artist to find those words. "Slon," along with the sparse ambience of "Kite" demonstrate that the Chicago Underground is quite adept at pulling the pieces together, whatever language they are speaking. The abstractions only intensify on "Palermo," which assembles the slow attack and fast falloff of reversed cymbal hits with a drippy beat and slippery progression. The track was seemingly assembled in the style of musique concrete, by tape cutter Bill Skibbe, furthering the ensemble's post-bop aesthetic and dedication to utilizing creative methods of presenting their sound. Though the acoustic and electric portions of Slon only intersect briefly, the way in which the Chicago Underground Trio employs them makes for a distinctly impressive piece.
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