By Frank Alkyer | Published October 2016
Spacebound Apes is Neil Cowley’s sixth and most ambitious studio album to date. The music is big, bold and anthemic. It hits you hard, then hugs you tight. It will be filed under jazz, but Cowley and crew defy categorization here—it’s a pop/rock/jazz instrumental masterpiece. Cowley has written a full story as a companion to the album, a tale about a man named Lincoln and his harrowing hero’s journey, complete with color illustrations by DC Comics’ Sergio Sandoval. The story totally informs the music, but the music stands alone beautifully. We have Cowley handling piano duties with extreme taste and texture, Evan Jenkins driving the drumset with everything from a light touch to outright bombast, and Rex Horan anchoring the proceedings impeccably on bass. The trio has amazing chemistry, driving songs hard or holding back just enough to create atmosphere, tension and release. Cowley also enlisted the help of Leo Abrahams on guitar and special effects to give this project just the right extra touches. All 11 songs on this album are gorgeous, some of the finest instrumental storytelling I’ve heard in a long, long time. “Weightless” leads off the program and is an aptly named exercise in Brian Eno-esque soundscapes. That’s not surprising, as Abrahams has oft collaborated with the influential producer. “Governance” is a two-man postmodern march that devolves into a blessed slam dance between Cowley and Jenkins. “Grace“ is a quiet, beautiful prayer. “The Sharks Of Competition” swims like a punk-ass jam. “Duty Of The Last” slides in as a slow-jam dirge. And everything builds to a breathtaking crescendo with “The Return Of Lincoln.” The group has been performing this complete record, front to back, in its live concerts. Go see it when it comes to a town near you. I know I will.
