Contemporary Jazz and the Evolution of the European Avant-Garde A Comprehensive Review of Alm Trigg and Gusset and Julius Windisch Immerweiter
The landscape of contemporary European jazz is currently undergoing a period of profound transformation, characterized by a departure from traditional structures in favor of multidisciplinary experimentation. Three recent releases—the debut EP from the Berlin-based trio Alm, the sixth studio effort from Dutch duo Trigg & Gusset, and a live recording from Julius Windisch’s Immerweiter—serve as critical benchmarks for this evolution. These works, though distinct in their geographic origins and aesthetic priorities, collectively illustrate the blurring lines between jazz, ambient, post-rock, and electronic music. By examining these releases, one gains a clearer understanding of the "catholic spirit" currently driving the independent jazz scene in Europe, particularly within the influential hubs of Berlin and Scandinavia.
Alm: The Convergence of Danish-Swedish Minimalism and Abstract Improvisation
The emergence of Alm represents a significant addition to the roster of Boomslang Records, an Austrian label founded by Alfred Vogel known for its eclectic and unclassifiable catalog. Alm, a trio comprised of Danish guitarist Carlo Dayyani, Swedish bassist Seth Sjöström, and Austrian drummer Steven Moser, exemplifies a specific brand of contemporary jazz that prioritizes atmosphere and texture over rhythmic rigidity. Recorded in March 2025 at Rådhus in Denmark, their debut self-titled EP challenges the conventions of the modern piano-less trio by integrating elements of post-rock and minimalism.
While critics often compare contemporary jazz trios to the Manchester-based GoGo Penguin due to their use of repetitive motifs, Alm diverges by favoring "drift and abstraction." Where GoGo Penguin seeks the energy of the dance floor, Alm seeks the stillness of the gallery. This is largely driven by the interplay between Dayyani’s guitar work and Moser’s compositional shifts. Dayyani, a graduate of the Jazz-Institut Berlin, has previously established a reputation for "dreamy" and "atmospheric" soundscapes on his solo works Melankoli Eufori (2024) and Langmod (2025). In the context of Alm, his role is less about lead melody and more about the creation of "pellucid tones" that echo the work of his compatriot, Jakob Bro.
The EP’s structure reveals a deliberate progression. It opens with "Drumsolo," which, contrary to its name, is a collaborative group improvisation that evolves from a static, Brian Eno-inspired soundscape into a dense "shimmering wall of sound." This is followed by "Preach," a Moser composition that introduces "tight rhythmic cells" reminiscent of Nik Bärtsch’s "Zen-funk," before eventually deconstructing into an open-ended form. The inclusion of a cover of Björk’s "Cocoon" (from the 2001 album Vespertine) serves as a testament to the trio’s ability to translate the "sexual tension" of avant-pop into a taut, instrumental improvisation.
Industry analysts suggest that Alm’s debut is a reflection of a broader trend where young musicians, trained in the rigors of formal jazz education, are increasingly looking toward the 4AD and ECM aesthetics of the late 20th century to find a new voice. The "close-knit rapport" displayed by the trio, despite their relatively short time together, suggests a high level of technical synchronicity that is expected to lead to a full-length studio release in the coming year.
Trigg & Gusset: Defining the Frontiers of Dark Jazz with Event Horizon
If Alm represents the light and airy side of minimalism, the Dutch duo Trigg & Gusset occupies the opposite end of the spectrum with their exploration of "Dark Jazz." Their latest album, Event Horizon, is their sixth release in a decade, marking a milestone in their ongoing quest for the "perfect David Lynch soundtrack." Comprised of Bart Knol (Trigg) and saxophonist Erik van Geer (Gusset), the duo has become a staple of a niche sub-genre that blends 1950s film-noir aesthetics with Doom Metal and Dark Ambient electronica.
"Dark Jazz" as a movement has seen a steady rise in European underground circles, led by groups like Germany’s Bohren & Der Club of Gore and the Kilimanjaro Darkjazz Ensemble. Event Horizon distinguishes itself by moving away from the "maximum black" of its predecessors toward what might be described as "charcoal grey." The album features a classic horn-led quintet, with trumpeter Coen Hamelink joining van Geer in the front-line, recorded at the Graveland studio of drummer Mischa Porte.
The thematic consistency of Event Horizon is its greatest strength. Tracks like "Faded Corners" and "Holding Pattern" utilize a "lethargic groove" and "chill keyboard wash" to create a sense of suspended time. The inclusion of guitarist Jurren Mekking on the track "Aether" introduces a "doom-laden" element that aligns the project with contemporary video game soundtracks, such as the recently released Blue Prince.
The technical execution of the album relies on "controlled atmospherics." The tempos are described as ranging from "processional to funereal," yet the melodic variety remains high. The use of the bass clarinet on the closing track "Perfect Fifth" adds a "woody," organic texture that grounds the electronic elements. For Trigg & Gusset, the "mood" is not merely an accompaniment but the primary subject of the work. This approach has allowed them to maintain a decade-long career within a highly specialized market, proving that there is a sustainable audience for "mood music" that refuses to compromise on its dark, cinematic origins.
Julius Windisch Immerweiter: Reimagining the Post-Bop Quartet at Morphine Raum
The third pillar of this contemporary survey is Julius Windisch, a German pianist whose work with his new quartet, Immerweiter (meaning "more and more"), represents the cutting edge of the Berlin creative music scene. His latest EP, Live At Morphine Raum, captures a performance at one of Berlin’s most prestigious hybrid recording and performance spaces. Windisch, who first gained international attention with his 2021 album Pros & Cons, continues to push the boundaries of the "conventional post-bop jazz quartet."
Windisch’s background at Copenhagen’s Rhythmic Music Conservatory (RMC) is evident in his use of "mathematically improbable time signatures." However, Live At Morphine Raum takes this a step further by attempting to synthesize the "polyrhythmic complexity" of British electronic pioneer Aphex Twin with the "ambiguous harmonies" of contemporary classical composer Wolfgang Rihm. The result is a series of "dense, multi-layered structures" that are both "brittle" and "intriguing."
The quartet—consisting of Windisch on piano and electronics, Pascal Klewer on trumpet, Sofia Eftychidou on bass, and Marius Wankel on drums—operates with a high degree of "vibrant presence." The track "Instagram" serves as a frantic, 45-second introduction, followed by the centerpiece, "Aphex Twin," where Klewer’s "atonal horn" is eventually "subsumed within an interlocking grid of rhythms."
The project is significant for its "fluidity between acoustic and electronic" sounds. In the track "Striving," Windisch uses "bold slabs of fluro-neon sound" to underpin the melody, creating a stark contrast with the "monochrome gravity" of the acoustic piano coda. The closing track, "Schweben" (Floating), is described as a "Satie-esque étude" that evolves into a "proggy fantasia," illustrating the quartet’s ability to sound "at once classic and futuristic."
Broader Impact and Implications for the Jazz Industry
The collective impact of these releases points toward several key trends in the global music industry. First, the geographic decentralization of jazz innovation is becoming more pronounced. While New York remains a historical touchstone, the creative energy found in Berlin, Copenhagen, and the Netherlands is currently producing some of the most conceptually daring work in the genre. Labels like Boomslang Records and Unit Records are playing a vital role in providing a platform for these artists who do not fit into the "traditional jazz" mold.
Second, the integration of electronic music and ambient textures is no longer a novelty but a standard tool for the modern jazz composer. Whether it is Alm’s Eno-esque soundscapes or Windisch’s Aphex Twin-inspired polyrhythms, the "catholic spirit" of these artists suggests that the future of jazz lies in its ability to absorb and reconfigure other genres.
Finally, there is a clear move toward shorter, more focused releases. Two of the three works discussed are EPs, reflecting a shift in consumer habits and the economic realities of the streaming era. By releasing shorter, high-impact collections of music, artists are able to maintain a more consistent presence in the market while continuing to experiment with new sounds.
In conclusion, the works of Alm, Trigg & Gusset, and Julius Windisch Immerweiter offer a compelling snapshot of a genre in flux. From the "controlled atmospherics" of Dark Jazz to the "polyrhythmic complexity" of the Berlin avant-garde, these artists are proving that contemporary jazz is a resilient and endlessly adaptable art form. Their commitment to "drift and abstraction," "dark undertows," and "searching improvisations" ensures that the European jazz scene will remain a fertile ground for innovation for years to come.
