Pursuit Of Ends

Seattles High Pulp are an effusively cross-pollinated instrumental collective with a sound that straddles the line between avant-garde jazz, psychedelic post-rock, and experimental electronic music. Its a vibrant mix that made their 2020 debut, Bad Juice, such an ear-popping surprise and one that they further expand on 2022s equally far-reaching Pursuit of Ends. Once again, much of the groups sound stems from drummer/bandleader Bobby Granfelts infectious beats. Here, he is joined by longtime bandmates keyboardists Rob Homan and Antoine Martel, guitarist Scott Rixon, and saxophonists Andrew Morrill and Victory Nguyen. Together, they play with a textured, deeply analog groove aesthetic that draws from a wide array of influences, including the space jazz of Sun Ra, the edgy electronic dance music of Aphex Twin, and the acid-soaked jazz fusion of Miles Davis early-70s work. They also bring along a small cadre of horn players who add yet more polyphonic atmospheres throughout, as on the opening "Ceremony," where warm Afrobeat horns pierce the frenetic electro-jazz rhythm. Also helping High Pulp raise the bar this time out are a handful of guest improvisers. Saxophonist Jaleel Shaw brings a soulful, Wayne Shorter-esque attitude to his solo in "All Roads Lead to Los Angeles," a track that seamlessly blends the 70s fusion of Weather Report with a kinetic, jungle drum and bass rhythm. Equally potent is "Wax Hands," a sparkling dreamscape featuring harpist Brandee Younger, and "Youve Got to Pull It Up from the Ground," a kaleidoscopic group improv featuring trumpeter Theo Croker that evokes the spiraling 70s free funk of Detroits Tribe Records. ~ Matt Collar