Benedict Koh – WAS/WERE (Album Review)

WAS/WERE is the new seven-track debut record by Benedict Koh, a Singaporean bassist and composer. Mostly, the album is without vocals.

The project starts with ‘Decouple’. It’s an instrumental piece that launches with a striking, almost abrasive soundscape. It begins with a unique sonic texture – a sound akin to an electric, zig-zagging voltage or the sharp crumpling of paper, incorporating a distinctly jazzy, non-traditional scratch.

The introduction is slow in its progression, building up layers of rhythmic elements: single, deliberate bell strikes and metallic progressions that hint at strings. The core ensemble soon takes shape, featuring piano and horns. The saxophone phrasing is particularly noteworthy, developing an almost loopy, hypnotic quality, supported by tight drum percussion.

The composition achieves its groove when a steady, anchoring piano key, coupled with light, focused drumming, enters and gives the piece weight. The track gels into a sophisticated, wordless narrative that is at once metallic, deeply melodic, and blues-infused. Though whimsical bells briefly take the spotlight, the robust and grounded presence of the horns ensures the track remains firmly rooted in the jazz tradition.

‘Idiosyncrasy’ follows. The track begins with a light, delicate texture, centered on bell and string-like sounds. This soon establishes a rhythmic base with the introduction of a minimalist kick drum and a deep, bassy guitar line.

The mood shifts sharply with the entry of an abrasive horn, signalling a rapid maturation of the sound. Horn phrasing that follows is particularly striking, leaving a piercing and sharp mark on the developing groove.

The energy continues to escalate as rapid drumming propels the piece forward. The horns create diverse and varying phrases, building harmonic tension throughout. Having started subtly and lightly, the composition concludes in a thrilling, frantic, and energetic climax.

Up next is ‘Kamon’. The composition opens with light, calm piano keys, immediately establishing an easy and tranquil ambiance. This delicate introduction quickly evolves into a rapid piano progression, subtly underscored by an understated bass line that adds depth to the sound.

Just as the momentum builds, the piece introduces abrasive textural touches before a harmonic horn melody emerges, tightly coupled with the drumming to create a focused, mature section. This track stands out as a beautiful and balanced composition where all the elements – from the serene start to the dynamic peak – are in complete harmony, succeeding precisely because it prioritizes musical flow over overt experimentation.

‘K/S’ follows. This track is characterized by a strong minimalist touch, with the flute taking center stage early on, establishing a spare and understated atmosphere. All instruments contribute to this feeling, relying on simple, effective strokes and hits rather than anything elaborate or fancy.

However, this restraint is dramatically abandoned at the song’s conclusion, which explodes into a section of frantic, cohesive improvisation involving horns, drums, and the rest of the ensemble.

Up next is ‘Somewhere’, a song featuring vocals by Jillian Moore. The vocals are expressive and ethereal, but do not carry any real story.

‘Copeland 1 & 2’ follows. This instrumental piece immediately establishes a dry, somewhat stark atmosphere before the instrumentation quickly imparts a decidedly brassy and abrasive feel. After a very brief build-up, the track explodes into a section of rapid, frantic improvisation that dominates the soundscape.

This intense, quick-paced play abruptly recedes almost halfway through the song, leaving the listener with a more subdued focus on the rich, bassy tones of the guitar strings to carry the remainder of the composition.

However, this initial pared-down arrangement soon blossoms into a more complex interplay

The title track closes the album. Earlier on, the track is anchored by a weighty piano that is accompanied by a cinematic sound. This is another cohesive, melodic song where all the elements gel harmoniously, though a prickly horn adds a deliberate touch of friction. Notably, the guitar also leaves a significant, memorable mark on the overall composition.

SCORE/ Excellent. Benedict Koh and his fellow musicians demonstrate a mastery of melodious craftsmanship while simultaneously embracing a thoughtful experimental spirit, offering listeners the best of both worlds. The album is nearly entirely instrumental, featuring only a single track with vocals – a factor that inevitably places that song under considerable pressure to distinguish itself and justify its unique presence within the collection.

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