The second album from Nantes-based Ensemble Nist-Nah founded by the Australian drummer/percussionist Will Guthrie, 48 minutes of electrifying music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings.
Founded by Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (Black Truffle, 2022). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie's long-time musical hero and occasional collaborator
Roscoe Mitchell.
The two short pieces that open the record could almost be the two sides of a wild 7" selected to show off what the Ensemble can do. On opener 'Gerak Maju', intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. 'Strollabout' then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. The remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On 'Ghostly Klang', two drumkits mirror each other's moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell's 'Uncle', performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell's dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.
Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois' drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.
Ensemble Nist-Nah was formed in 2019 as a hybrid Gamelan / percussion ensemble, led by Nantes-based Australian drummer and percussionist Will Guthrie.
The music of Ensemble Nist-Nah is informed, influenced and inspired by various traditional musics from Indonesia and gong based musics from South east Asia, however the music aims to distances itself from dry academic discourse or questionable exoticism. Rather, sonic and interactive issues are at the forefront, and the band since it's inception, has aimed to produce music that is continually evolving, relevant, respectful and adapting to the current members and their current interests. Ensemble Nist-Nah develops out of Guthrie's extensive work with pitched percussion and resonant metals over the years, using gongs, singing bowls and bells as melodic and harmonic material, alongside polyrhythmic / poly-metric rhythmic possibilities.
The music presented is grounded in Guthrie's travels in Indonesia and appreciation of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer
Dewa Alit and his Gamelan Salukat. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the influences are rich and varied, taking into account
Roscoe Mitchell's percussion works, Henry Threadgill's multi-directional improvisatory music, as well as cross cultural adventures from the likes of Trevor Watts, Michael Ranta and
Mike Cooper. Bringing together 8 musicians coming from eclectic and mixed backgrounds, Nist-Nah hosts a wealth of experience and expertise, and also regularly invites guests such as Jennifer Torrence, Sarah Hennies, Toma Gouband and Jessika Kenney. In 2024 the group enters into it's second phase, bringing together younger Nantes based musicians, a new group and new music to go with it. In parallel to Nist-Nah's artistic endeavours, various members of the group regularily organise workshops and teach Gamelan, using these incredible instruments and teaching possibilities, as a way to bring people together, old and young, beginner and advanced., and have taught in Universities, Prisons, Squats, Schools and community centres.
