Artanker Convoy - Cozy Endings

Artanker Convoy - Rabbit (Social Registry 2007)

Artanker Convoy – Cozy Ending / The Social Registry

I am a big fan of album artwork. I believe to be a truly stunning release, it needs to be the full package: intriguing music, innovative and apt artwork and creative packaging. It also does wonders for capturing my attention, especially when thrown in amongst a large pile of other CDs all vying for my time. Honestly, I have mixed feelings about the artwork of Artanker Convoy’s sophomore outing, Cozy Endings. Granted the front cover picture of a lady’s well-proportioned fanny Lost in Translation-style is both appealing and in line with the album title, but to be perfectly honest, makes me think that the CD hidden inside is of the cock-rock variety. Thankfully though, it’s not—quite the opposite in fact—but I guess it could make one shake its groove-thing, so perhaps the photo is more appropriate than some Photoshopped post-modern something-or-another depicting the psychedelic swirls held within. Either way, Cozy Endings is an intriguing and worthwhile listen, so we can just debate the artwork later.

Helmed by drummer and percussionist Artanker (no other name included), the Convoy is made up of five other instrumentalists all focused in on finding the pocket and working within its limitations. A somewhat unneeded but still interesting biographical nugget, Artanker along with bassist Joe Florentino got their start on the NJ/NYC scene in the early 90s basement-rock act Jinx Clambake Explosion, which just so happened to be a starting point for an ambitious guitar player by the name of James Murphy (DFA, LCD Soundsystem). While the sloppy stoner-rock may not have much to do with what any of the involved musicians are purveying today, it does certainly make for interesting association. Artanker and Florentino also went on to star in the wily power-pop group Stratotanker while Murphy honed his studio skills. I am not sure where the actual musical evolution for the transition from goofy rock to sophisticated jazz-infused music takes place in the decade interim between the youthful projects and their current bands, but it’s a hell of an interesting starting point.

Most descriptions of the music are pointing to Miles Davis’s fusion experiments in the late 60s/early 70s, especially the oddball out takes of 1969’s Big Fun. I can definitely get down with that comparison; just realize Artanker Convoy would be less Davis, more McLaughlin-DeJohnette-Holland-Grossman-Zawinul. They all shuffle around aptly in the groove without one player truly taking command of the situation. And with all the hazy explorations of echoing electric guitar and krautrock rhythms, I would venture to say Can’s more subdued compositions might be better comparisons for the sound. Elements of psyche, jazz, dub and space-funk all interplay with the fusion and krautrock aspects making for music that simmers and struts and pays so much homage to the varied influences surrounding it, at times it enters a realm all its own.

As far as looseness and equally balancing all of their incoming influences, “Rabbit” takes the spotlight. A deep, spacey bass line leads taut, warmly toned guitar riffs (that are subject to many a guitar pedal as the song progresses), a two-man percussion rhythm, twinkling keyboards and Jake Oas’s patient saxophone, which weaves it’s way in and out of the pocket testing and teasing the throbbing mass of groove. “Black Dauphin” makes for an interesting number because about three-fourths of the way through the swirling psych-funk, Artanker locks himself into a dance rhythm not completely unlike a subdued DFA beat; perhaps Murphy’s influence did rub off a bit. The twelve-minute slow-burning introduction, “Open Up,” also is worth noting as it pairs a sexy space-rock hustle with touches of avant-garde jazz; Don Cherry would be proud.

Cozy Endings may be a bit outside its most befitting era (by a good 30-35 years), but within NYC’s current state of dancefloor redundancy, it is an especially refreshing listen. Artanker does a great job of leading his talented sextet without ever stepping on their toes. And that perhaps may be the most appealing aspect of the Convoy: all the players seem content to lock in with each other to create one infectious rhythmic groove without worrying too much about the spotlight. Now if perhaps we can work on the cover-art just a little to better suit the music… though I have to admit, it is pretty hard to argue with it too much.