Neon Dilemma - Self Titled (Klaeng Records, 2024)

 

By Sarah "Flake" Grosser

When it comes to performing live, Elias Stemeseder has no tolerance for gimmicks, bells, and whistles. With widened eyes the softly spoken, Austrian blonde makes a firm statement, as deliberate and confident as the music he plays: “When I go to a show I want to be exhilarated!”

Sure, it’s a simple mission on paper. But seeking that big, earth-shattering live jazz experience is like looking for love: you can put yourself in certain situations, anticipating the feeling, but the magic of exhilaration is not something you can force. It’s more a case of “When you know, you know.”

This album was recorded in 2022, but its release was not manifested until May 31st, 2024. Neon Dilemma’s self-titled first album celebrated its arrival in Tonstudio Salon de Jazz and although only around 25 - 30 patrons were present, the tiny Cologne jazz club packed out at full capacity. As this was the release party, the music to come was also a debut performance. The only preconceived notions were those of the musician’s reputations. Two household names in the German/Austrian jazz circuits, Stemeseder on piano/synth and Robert Landfermann - double-bassist extraordinaire - joined by rising star Leif Berger on drums. (Author’s tip: Commit this name to memory.)

If exhilaration was the aim then this was well and truly achieved. Naturally the virtuosic speed and accuracy of the musicians were breathtaking to behold, but the unique approach each player brought to his instrument made for deeper layers of wonder: Landfermann provides cool and exciting basslines as a swanky foundation, Stemeseder floats effortlessly over the piano between staccato “glitch-style” pops and plinks through to heartwarming glissando, and then there’s Berger, whose one-of-a-kind drumming style sees him literally melting himself over the kit. There is so much to take in sonically, but also, so much action and creativity unfolding on the stage under those glowing, colourful stage lights, it is hard to decide where to focus. Neon dilemma, indeed.

Live performance aside, the compositions are complex and keep you guessing. Engaging, enticing, and wildly unpredictable in the best possible way, most of the pieces are composed by Stemeseder and Landfermann and incorporate a myriad of interesting compositional techniques such as the outro to “Etch Nonspirituals;” a bizarre melody, the rhythm of which is played in unison with the drums. It’s so impressive and fun to listen to.

But there are also moments of vulnerability and tenderness. None so tender as the ballad, and only Berger composition, “The Material from Which I Have Built My House.” The piece is light as a feather, drifting patiently along, providing a wonderful breath of fresh air to break up some of the intensity.

On “Tox-Anselm” Stemeseder’s ghostly synth oscillates with a hint of detune; should a piece call for electronics or a subtle drone, Elias certainly has the knack for finding the appropriate sound for the piece. Such attention to detail is present throughout the recording, and transitions seamlessly to the live interpretation.

The pixelated font used on the back of Lea-Melina Berger’s album artwork would not look out of place tattooed around her brother Leif Berger’s neck, and while this disjointed aesthetic might be jarring for some, others will find it refreshingly retro and colourful, with a dash of vaporwave.

Neon Dilemma is a criminally underrated album, deserving of a place among any jazz critics' “Best of 2024” list. Certainly worth the 500km trip to witness live, but for the more relaxed commitment of just 10 euros on Bandcamp it’s… what’s the opposite of a dilemma? A no-brainer.