Herky-jerky, rhythmically complex, noisy/skronky jazz-based improvisations (or maybe compositions). Rooted in free jazz but would fit in rock shows. Zu are a trio of elec bass/drums/bari sax that frequently get no-wave comparisons, though I think of them more in line with Etron Fou Leloublan, who had the same lineup and similar metrical trickiness; they've collaborated previously with Ken Vandermark's Spaceways, Inc., Dälek, The Ex, and two with Eugene Chadbourne that are in the library. Gustafsson here on a second bari sax only adds to the energy level. The rhythm section, especially the bass, which Jannick Top would envy, here is really a knockout; they don't let up and are just as much in the lead as the two more conventional lead instruments which often as not take a more rhythmic role---there's not much emphasis on soloing here, and it's very heavy.

Best: 2, 3, 6, 9

1: Slow build suddenly explodes 30 seconds in, with intense throbbing bass.
2: Opens with high rhythmic bass plucks and harmonics, this changes later to distorted chords to support the saxes, which trade off short interlocking phrases (not unlike the ROVA sax quartet does on occasion). Intense breakdown in the middle.
3: Sparser and more atmospheric but still oppressive, this one features crushing bass random-seeming drum parts with the horns coming in only occasionally like brief interjections.
4: Opens with sax duet. Intense, shrieking solo part of the way in, played over increasingly chaotic accompaniment from the rhythm section. Ends focused on the bass.
5: Short squiggles coalescing into a threatening bass line, over which the saxes play sustained notes.
6: Squealing sax dominates the beginning, and plaintive, lengthy squalls characterize the entirety. Underneath the other instruments keep up a frenetic furor. Ends with a brief drum solo.
7: Percussion and mouthpiece-centric saxism. This one is a lot more restrained (no bass).
8: Slow, with lots of open space in the rhythm section.
9: Great, melodic (wrt the rest of the album) playing here. One sax skronks while the other one sings. Ends with herky-jerky brief sputters.