Kraanerg is the title of a ballet written by Iannis Xenakis in 1969. It is derived from the Greek and translates as ‘accomplished action’. It seems like an apt name for Nat Bergrin’s outfit, as they are certainly accomplished, and new album Aria for Labellum Tongues is full of action and energy. The Xenakis work is an anarchic battle between orchestra and taped sounds, and Bergrin’s music isn’t without its chaotic moments, but it’s very much a controlled chaos. Whilst on first listen one might imagine there is a degree of improvisation at work on Aria for Labellum Tongues, that really isn’t the case, as almost everything is written, as the accompanying scores prove.
The compositions are all written by Nat Bergrin, and his vision and attention to detail is hugely impressive. This is modern classical music with a punk aesthetic, huge in scope and ambition, managing to marry melody and anarchy. He employs a large group of musicians playing an array of instruments which makes for a big sounding record, dense but detailed, moving from clean melodic sounds to manic noise at will. Bergrin plays piano, guitar and sings, and is at the centre of everything, but the melody is often carried by the saxophones (Jack Dell and Sydney Smith) or violin (Maximilian Jacobs). The whole band are driven with huge energy by Jason Roe on drums, and he must have been exhausted at the end of these sessions. The drums and bass are the only parts not actually written, so Jason and Markov Soroka (bass synth) were afforded some freedom, resulting in a more natural sounding rhythm section.
Amargosa Raga launches the album at a furious pace, the wild sax and violin contributions faintly reminiscent of early Hawkwind without the jam. It’s exhilarating punk tinged psychedelia, and is a rather glorious racket. There’s something of a paradox to this music; it sounds wild and almost free form, yet it is all meticulously planned and notated with nothing much left to chance. It makes for a fascinating listen. Just when you thought they couldn’t play any faster, they step up another gear for a frantic conclusion. This pretty much sets the template for what’s to come; hummable melodies, piano at the core, uncompromising complexity, and breathless sections of speed.
The one exception is a short piece, Anguloa Virginalis, not written by Bergrin, but improvised by him on piano based on a guitar piece by Garoto. It provides an oasis of calm between the turbulence of the original compositions, and is quite beautiful. It is preceded by my favourite track, Blessings in Silk, Saffron and Naran-Ji. At eleven minutes, it has a bit more space to develop, and has some elegiac passages that are a delight. Whilst it’s probably fair to say that Bergrin’s vocals are an acquired taste, the instrumental passages are fantastic. I actually find the contrast interesting and enjoyable, but some may struggle. It’s worth the perseverance though, because the modern classical slant of the music is really engaging. Bergrin’s piano playing is sparkling, and the saxes and violin are never far away, and really give the piece an original aura. Truly Kraanerg sound like nothing else I’ve come across.
Iron Sign of the Masdevallia is even longer, and is a real tour de force. The band play like demons, holding nothing in reserve. In the score notes, Bergrin states that he prefers using studio technology to realise his scores rather than adapting his writing to allow them to be playable live. Certainly, parts of this piece sound as though they would tax the most capable of musicians in a live situation. This is progressive music of distinction, truly original and hardly backward looking at all. That might make it ‘difficult’ I suppose, and maybe it is, but it’s all the more rewarding for the effort required to listen to it.
Final track, Visible to the Wrong Faces, is an epic in every sense, yet its twenty minutes seem to fly by. It ushers in with a rather ominous shimmering guitar. Bergrin’s vocals sound pained at first, the mysterious lyrics frankly baffling, but I find myself listening more intently to Jason Roe’s vibraphone instead which provides an earthy undercurrent as the intensity builds. There is a majestic sweep to the track which is satisfying, until with four minutes to go, we hit the overdrive button, and Roe drums for his life. It’s an exhausting climax to the album, though there is a wind down thankfully!
So, an extraordinary record unlike anything I’ve heard this year. Kraanerg give it everything and more. It won’t appeal to everyone, but who is interested in universal appeal anyway? If you want uncompromising commitment, originality and unwavering vision, it’s here. The classical base, the punk attitude, rigorous musicianship, and compositional vision marks this release out as something very different. If you’re feeling adventurous, it’s well worth investigating.
TRACK LISTING
01. Amargosa Raga (7:47)
02. Aria for Labellum Tongues (4:39)
03. Blessings in Silk, Saffron, and Naran-Ji (11:16)
04. Anguloa Virginalis (Um Rosto de Mulher) (3:53)
05. Iron Sign of the Masdevallia (16:43)
06. Visible to the Wrong Faces (20:06)
Total Time – 64:20
MUSICIANS
Nat Bergrin – Piano, Clean Guitar, Vocals
Jason Roe – Drums, Vibraphone
D.L. – Distorted Guitar
Markov Soroka – Bass Synth
Maximilian Jacobs – Violin
Jack Dell – Alto Saxophone
Sydney Smith – Soprano Saxophone
Dom Grande – Additional Saxophone (5)
Jules Liebenthal – Additional Guitar (6)
Russell Rode – Viola (6)
ADDITIONAL INFO
Record Label: Independent
Country of Origin: US
Date of Release: 4th September 2026
