Judging by the coverage of the beginnings of the Ostrom solo CD - a drummer of his naked torso moody shot Swedish hooking a cymbal - it seems to fancy himself as a bit of a hard man. Thus, you would expect Thread of life as a muscle Monster. Strange, then, that it is to be something of a pussycat instead.
Ostrom is known for his role in the East for 15 years until the premature death of pianist Esbjorn Svensson in a crash dive in 2008. Here, he avoided trying to reproduce the trio for piano acoustic noise and focuses on an electric jazz airbrush, which owes much to the lush fusion - lite guitarist Pat Metheny (who made an appearance on ballade for E). That said, the music here is the same kind of relationship with jazz-rock electric as is Jazz acoustic piano: he is melodic, good taste and, frankly, a little bland.
For all the distorted solo guitar current, it did not escape that tracks as Longing have a suspicion more than table of coffee in their subject, any weight of death and between are stupefying musical sedative become it. It is a shame, because there some promising times peppered throughout the album. Piano song Break is built around a piano figure as Steve Reich, who, while not exactly a new idea is quite pleasant. Haunted thoughts and endless fall has more punch - and -four minutes is the shortest track of the album by a certain way. Yet, even here, Ostrom seems curiously sobre and rarely manages break a sweat. Final of the album, anthem (For the Past) part II, is 15 minutes of ice post-rock in the style of Sigur Ros, which clearly strives to build a top gravitas, but in fact feels heavy and too concerned with his own importance.
With their accessible melodies and blissful energy, is were unusual in their ability to crossover and appeal to an audience beyond the world of jazz. While some of these auditors will want to check the first statement of the Ostrom post-EST, it is difficult to imagine that this version will have him several new followers.
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