In his 1982 film, Koyaanisqatsi, director Godfrey Reggio sought to explain the relationship between human beings, nature and technology. He presented a gorgeous collage of scenic landscapes and rolling clouds, set against an equally riveting score. The movie said everything it needed without any spoken dialogue, which can be nearly impossible in cinema and music.
Jazz trio GoGo Penguin rescored the film in a one-off event this past fall, which makes total sense the more you assess the band’s art. Drummer Rob Turner, bassist Nick Blacka and pianist Chris Illingworth fuse classical and electronic elements while keeping with jazz’s improvised nature. Much like Koyaanisqatsi, GoGo Penguin’s music is full of subtle shifts that allow its composers to shine equally. For Man Made Object, the band’s third album, many of its 10 tracks started as electronic compositions, created on Logic and Ableton by the group’s percussionist.
GoGo Penguin opts for an energized sound on Man Made Object, conjuring pastoral imagery while loosely exploring scientific concepts. Between its title and multifaceted sonic approach, the LP seems directly influenced by Koyaanisqatsi, bringing to mind the same sorts of aerial views we see during the movie’s 86 minutes. The album comes on the heels of a revival of sorts for jazz music, where artists like Kendrick Lamar, David Bowie, Flying Lotus and Kamasi Washington fused the genre with their own blends of rap, rock, electronica and soul. The success of their respective LPs brought jazz back into mainstream view and made it more accessible for younger listeners.
Man Made Object resides in similar space. Much like the band’s first two albums—Fanfares and v2.0, the latter of which was shortlisted for a Mercury Prize Album of the Year—the band’s new album takes hold right away and sustains an upbeat groove. Even in its quieter moments, like those on “GBFISYSIH” and “Initiate,” they carry a reflective vibe without losing momentum. GoGo Penguin creates jazz in the same vein as Robert Glasper: It’s a piano-driven blend with all the traditional aspects you’d expect from the genre while still scanning as something refreshingly vibrant and contemporary. Theirs is a percussive strain of frenetic drum breaks and rock-infused instrumentals, like on “Smarra,” where a fluttering bass line takes center stage, ramping up the rhythm until it burns to a smoldering heap. It’s the best moment of an album filled with unique creative twists.
Yet despite these details, Man Made Object is largely devoid of standout, calling-card tracks. “Smarra” and “Protest” hit hardest at first glance, but the other tracks take longer to build up, one leading to the next for a unified listening experience. Man Made Object is tailor-made for laid-back enjoyment, to be consumed at a moderate volume without much fuss. It marks a nice step forward for a group that lives comfortably beyond artistic restraints.
