SOFT MACHINE
VENUE THE 1865, SOUTHAMPTON DATE 22/11/2018
It’s safe to say that 2018 has been an excellent year for jazz fusion experimentalists Soft Machine. First, the Canterbury troupe celebrated the 50th anniversary of their self-titled debut album. Then they released Hidden details – their first lP under the ‘Soft Machine’ mantle since 1981 – before embarking on a worldwide tour.
Tonight is the final show of an extensive european run for John etheridge, roy Babbington, John Marshall and Theo Travis, and they are ending on a real high: playing two back-to-back sets of new tracks interwoven with
1970s classics.
From a visual perspective, there is very little to report as Soft Machine begin to play. all four members remain as firm-footed as possible, refusing to interact with the crowd during their complex and lengthy tunes. Clearly, this is a night where the music is all that matters, with no additional elements – apart from one or two spotlights – desired whatsoever.
The opening song of the evening is an off-kilter barrage of jazz rock musicianship, with technical and oftfast-paced playing from everybody onstage. it establishes these men’s instrumental talents from the very start before a more brief and soulful turn is made with the Mike ratledge-penned classic The Man who waved at Trains.
life On Bridges is another collection of unadulterated lunacy, beginning with a slow saxophone from Travis that is then juxtaposed with Marshall’s drums blazing ferociously. The dissonant noise of the song’s mid-section keeps this mania going, but is then undercut by the sweeter tones of The Tale Of
The Taliesin.
The duology of Heart Off Guard and Broken Hill create a sweet contrast, while also displaying etheridge’s guitar skills front-and-centre. The former is a dulcet acoustic piece, while the latter is a more brazen electric guitar solo. Gesolreut concludes the first set, its union of piano, strings and saxophone making for a joyously harmonious conclusion.
after a brief interlude, One Glove and Fourteen Hour dream welcome the audience back, before the 70s return once again in the form of Out-Bloodyrageous (Part 1). etheridge takes to the microphone to humorously explain the title’s connection to the Soft
Machine biography of the same name:
“if you want to get one, they’re out of print, so they’re only 60 quid,” he laughs. Kings and Queens is the highlight of the evening, putting Babbington’s chopping yet funky bass at the forefront in tribute to beloved Canterbury scene veteran Hugh Hopper.
a John Marshall drum solo followed by Chloe and The Pirates conclude this massive evening of experimental jazz fusion, sealing Soft Machine’s glorious career renaissance during the past 12 months.