Isobar return with their fifth album, the cunningly titled Isobar V. Fronted by Malcolm Smith on guitars and Marc Spooner on keys, both previously from prog band Metaphor, they compose complicated instrumental flights of fancy which are performed with the utmost precision. Long time fellow band member Mattias Olsson (Änglagård and White Willow) handles the tricky rhythmic patterns and ‘twiddly bits’, while the line up is completed by new addition Loren Gustafson on bass. Everyone involved needs to be on top of their game, because these compositions are demanding to say the least, but that’s not to say it’s a demanding listen, as there are hooks, melodies and shifting moods and textures throughout. Each track can change in direction at any moment, so boring it most certainly isn’t. Stylistically, it’s all over the place; fusion, jazz, prog, minimalism, you name it, it’s incorporated somewhere. The over arching principle though strikes me as a sense of playful fun. It’s not complicated for the sake of it, because at no point does it sound as though anyone is taking it too seriously.
The most striking thing about Isobar V is the quality of the compositions. There is a real sense of development from the last album, and a musical maturity which has evolved over years of playing this kind of weird stuff! Whilst much of the attention is fixed on the interplay between guitars and keyboards, which are never less than dazzling and joyful, Mattias Olsson’s percussive playful precision is a key part of the Isobar template, and he keeps things grounded in some sort of reality, and Loren Gustafson fits in perfectly with some impeccable bass lines which serve the songs so well. As ever, the band also augment their sound with some wonderful guests adding extra texture and interest. James Vaughn in particular plays an important role, adding his sympathetic sax to six of the ten tracks here. It tends to emphasise the jazz fusion aspect of the band, but his playing is economical and restrained, and more textural than flamboyant. It is however a vital ingredient to the musical stew. Similarly John Ettinger has an important supporting role with his violin on several tracks. Both Vaughn and Ettinger appear on one of the highlights, Oats and Glitter.
It starts with Olsson on various percussive instruments picking out a deconstructed rhythm before stabs of keys, guitar and sax pick out the stop/start riff, with occasional sparkling synth runs, sounding like an out of control computer fizzing away. As the piece develops, violin picks out a melody which seems to change in time signature as we go. It’s a fascinating track, and a perfect illustration of what Isobar are all about. Ettinger’s violin plays a more pivotal role in Folie Circulaire, a slowly evolving track with very Zappa-esque synth flourishes. It’s like a moody tone poem which suddenly takes a more lively turn towards its climax. As with all the band’s writing, it’s full of invention and ideas which are somehow moulded into a cohesive piece of music which makes sense in its compositional arc.
The Position of Dr. Mannix is another interesting piece featuring Patricio Penin on Uilleann pipes. It begins with a very Genesis sounding 12 string guitar and keyboard intro, with mellotron colouring before the character changes completely and we are in jazzier territory as the Uilleann pipes join to brilliant effect. As ever, there are more ideas packed into this five minute piece than some bands manage on a whole album. I could pick out many other highlights, but basically, this record has no low points, just shifts in mood and style, all of which keep the listener focussed on a delightful tapestry of sound and texture. There are moments of sombre reflection and joyful tangents to be explored. Humorous twists abound, and the whole listening experience is rich and varied. The lack of vocals is almost unnoticeable, such are the voices of the instruments, vying for attention.
Overall, it makes Isobar V an engrossing listen, with each repeated play revealing little nuggets of detail that surprise and entertain. I think this has to be their greatest achievement so far, and I have no hesitation in recommending it as one of the most stimulating releases this year.
TRACK LISTING
01. Gravity Itself (5:18)
02. Oats and Glitter (5:46)
03. Folie Circulaire (7:01)
04. As It Was (4:13)
05. The Position of Dr. Mannix (4:54)
06. Democracy, The Kimono (4:50)
07. One Woman, One Cow (4:41)
08. March of the Butterflies (6:27)
09. Some Sort of Rudimentary Lathe (1:55)
10. The Turpitude (6:57)
Total Time – 52:04
MUSICIANS
Malcolm Smith – Guitars
Marc Spooner – Keyboards
Loren Gustafson – Bass
Mattias Olsson – Drums, Percussion, [Twiddly Bits]
~ With:
James Vaughn – Saxophone (1,2,3,5,6 & 7)
John Ettinger – Violin (2,3 & 10)
Patricio Penin – Uilleann Pipes (5)
ADDITIONAL INFO
Record Label: Independent
Country of Origin: US
Date of Release: 4th September 2026
