Since forming in 2015, free-jazz collective Irreversible Entanglements have charted a singular musical course. Their sound marries the fiery liberation poetry of Camae Ayewa (better known as Moor Mother), with exploratory and often improvisational brass from trumpeter Aquiles Navarro and saxophonist Keir Neuringer. Grounding their experimental style are double bassist Luke Stewart and drummer Tcheser Holmes.
The band’s music exists in a space between wild artistic freedom and the righteous anger that defines the lyrics of Moor Mother. Their focus on social and racial justice is written into their DNA. They did after all first come together as part of a Musicians Against Police Brutality event, organised in the wake of the killing of Akai Gurley.
With Future Present Past, Irreversible Entanglements build on the blueprint they’ve forged across albums such as 2021’s Open the Gates and 2023’s highly acclaimed Protect Your Light. This time however, the mood of the set feels more hopeful. The anger is balanced with a defiant joy and an ever-present sense of collectivism.
Lead single ‘Don’t Lose Your Head’ sees the band at their most bite-sized, coming in at under three minutes. The song is the closest they’ll ever get to earworm material with the sung chorus of “don’t lose your head, messing with the gods”, delivered by regular collaborator MOTHERBOARD. Moor Mother’s poetry is particularly stirring as she intones lines like “a foundation for the generation, it’s time to organise and plan”. The interplay between the often soulful but punchy singing of MOTHERBOARD and the poetic flare of Moor Mother’s bars, is one of the album’s defining features, with the guest singer contributing to half of the tracks.
Second teaser single ‘Vibrate Higher’ offers a looser and more improvised structure, with bright trumpet lines and buzzing sax parts weaving in and out of choppy drum patterns and steady bass. Ayewa is at her compelling best as she calls for peace and denounces state violence.
With ‘Panamanian Fight Song’, the listener is treated to another of the band’s most concise and direct tracks. Trumpet lines call out across stuttering drum patterns and driving pizzicato bass, as Moor Mother offers up verses about overcoming adversity and achieving peace and redemption collectively.
The more direct approach taken on the first leg of the album has dulled none of the band’s creative flare and experimental fire. In the latter stages of the record, the quintet does however really begin to unleash. With ‘The Messenger’, we get an extended wig-out with the band in full improvisational flow. Ayewa’s poetry is looser and more exploratory in response to the heady sonic brew bubbling below her.
‘The Spirit Moves’ continues the run of freer compositions. Feeling like a meditation of sorts, the vocals top a minimal blend of percussion, languid sax and bass. It provides an interesting sonic counterpoint to the shorter, punchier compositions earlier in the record.
With Future Present Past, Irreversible Entanglements have delivered an album that matches the quality and creativity of its predecessors. At the same time, they’ve refined their vision – coupling familiar sonic elements with a new-found directness. The result is an album that offers hope and joy in the process of resistance.
