instruments and lead singer play around and through each other in multitonal improvisation. Rhythmic phrasing begins and ends differently for each musician, until you're reeling from the cacophony. Hardly babble, however, Full's music is complexly deconstructive, hovering between repetitive electronica and fusion jazz. A whole show might be more challenging than most of us want to hear, but they're definitely worth checking out.
The musicians do listen to each other, feeding off their combined energy, but each brings a distinct role to the group. My favorite is Jason Kirk, whose trumpet plays a more integral role than horns usually do, improvising long, lyrical lines that float above the dense mix of the other instruments. The vibes are also cool and trippy, pounded out by Tacket Brown, who jumps and dances over his table with more youthful abandon than Lionel Hampton ever had. Despite the band's rejection of classic sounds, the vibes are what they are lovely, singing tones that offer a little relief in the midst of the discordance. The percussion both the acoustic and electronic drums played by Sandon Klenetsky, and occasional additional personnel on various hand drums gives the music its semidanceable rock feel. All the drums together sometimes transform the performance into an islands mambo sound.