In the world of experimentalism, few in this era have had a run quite like Oren Ambarchi. Some will claim the Australian has been the leading light in said space for a lot longer and, honestly, they are valid claims.
The last two months alone have seen the guitar wrangler release a swathe of new music. Three full-lengths in total, and all worthy of more plaudits they have so far gained. In August, via the trove that is his Black Truffle label, Ambarchi continued his crusade alongside Jonah Berthling and Andreas Werliin on the back of their three Ghosted LPs. This time, drafting in Christer Bothén for Serpentine – another chapter that sees the collective’s take on afrobeat and psychedelia reach new heights.
Following Serpentine, earlier this month Ambarchi unveiled KKAARREENNIINNAA. The single 43-minute piece featuring Charlemagne Palestine and Daniel O’Sullivan (who himself has had a prosperous year; alongside Steve Moore, dropping the new Miracle LP, The Living Likeness of My Electric Daemon).
Cooked is Ambarchi’s third instalment in six weeks, and once again, he takes his audience to new corners. His first solo releases since one of his best in 2023’s Shebang, Cooked is every bit as good. Like Shebang, Cooked finds Ambarchi drafting in more new voices to help carve out fresh ideas.
And in unison, they don’t disappoint. A coalition of experimental alumni, including his Ghosted hombres Berthling and Werliin as well as Ambarchi’s other regular sparring partner, Konrad Sprenger, there are many more who stamp their mark on Cooked, too.
Oren Ambarchi - CookedWhich begins with opening gambit, Hidden Tableau. Led by Sprenger’s warped vocal that’s been put through various gadgets, it passes off as a transmission from a lost world. It’s one of the many snapshots throughout its twenty-one minutes and forty-one seconds. Ambarchi, orchestrating a brand of avant lounge jazz akin to sound therapy. The space and tones, inspired by Ambarchi’s collaboration release alongside Chris Abrahams and Robbie Avenaim, Placelessness. (Which, to this day, remains one of the best kept secrets in experimentalism.)
Instead of Abrahams, Japanese maestro, Eiko Ishibashi, assumes the role over the ivories; her performance, stirring and beautifully meandering. And as Joe Talia’s drums kick in, the echoes of Bark Psychosis’ Scum flicker in the back of the mind. As he always does, Ambarchi leaves his own mark; those trademark guitar plinks, working alongside Ishibashi’s piano and Jim O’Rourke’s synths, as the whole piece illuminates the room.
Following is Sleight of Hand, which begins with Ambarchi taking the lead. His noodling guitars, guiding Berthling’s double bass throbs, and from here the band drops in to create something that slowly sinks into the bones. Michiko Ogawa’s shō and James Rushford’s keys, creating a swirling hypnotic effect, as Will Guthrie’s drums move with grace.
The piece is a quintessential headphones listen. You feel so close to the music that you’re beyond the observational glass. The feeling, like you’re in the room witnessing the magic. And the peak of it is Marcus Pal whose synth freak-out lays the foundation for more of Guthrie’s elastic percussion. New layers, emerging as each second passes. The piece, ending with Fredrik Rasten’s soft acoustic brushes, resulting in one of Ambarchi’s most colourful patchworks yet.
Unlike Shebang, Cooked isn’t immediate. It’s designed for close-listening and solitude, which is where the best results are found. Those soul-destroying days at work, upended by Cooked, which doesn’t just soften the blow; it actually turns dreadful days into decent ones. Give this the time it deserves and be rewarded with arguably one of the greatest gifts in experimentalism this year.
Cooked is out now via Drag City. Purchase from Bandcamp.
