In a way, Thumbscrew have already put out an album in 2018, the trio, which is made up of Tomas Fujiwara (drums), Michael Formanek (bass) and Mary Halvorson (guitar), form the core of the guitarist's latest project, Code Girl. With the simultaneous release of Ours and Theirs, the trio have shown that 2018 is one of their most productive years to date. Ours is a record of Thumbscrew originals, with each member of the band contributing three compositions - each of the nine tracks showcasing the creativity and unique connection within the group.
As with many of the projects involving these three musicians, there are moments of fearless exploration. Fujiwara's first piece of the record, "Saturn Way", lives up to its name, as it truly feels like a journey into the beyond. The drummer drives the beginning of the track with a hard hitting and slightly off kilter rhythm before things get eerie. Formanek's arco, the spacey effects of Halvorson's guitar and Fujiwara's bells combine to create an engrossing mysterious atmosphere.
Although Thumbscrew sounds fantastic when they lean towards more atmospheric soundscapes, they are a band that does the opposite just as well. Formanek's "Cruel Heartless Bastards" has Fujiwara drumming with a force and rhythm that would easily fit in a rock record, with Halvorson opting for a heavy guitar tone. The band goes through interesting changes in tempo before Halvorson kicks things into overdrive, launching into an extremely impressive solo. The guitarist drenches her notes in echo and distortion as she powers along, the rest of the band joining her abandon to create some extremely entertaining chaos.
Halvorson's compositions are just as enthralling as her playing, with "Snarling Joys", opening up with some infectious bass lines that make up the underlying theme of the piece. Halvorson enters with a dry tone, her guitar at times following the bass then establishes the motif of the piece before improvising around it brilliantly. Another Halvorson number, "Thumbprint", is a song that is notably more skeletal than the rest of the album, but no less impressive. Fujiwara's versatility is on full display, the drummer somehow seeming independent but reactive at the same time. His rambunctious drum rolls, skillful moments of restraint and flurries to push the tempo are a highlight of the tune. Ours is another impressive entry in the catalogue of three musicians who lately have been consistently showing that they are a vital part of the New York City avant-garde jazz scene.
