Jü plays the music of rapture: their themes, often seemingly austere, sometimes unfolding from repetitive swirls, transport their entranced audience from the present straight into the future. Their first BMC Records album, Rudel, combines the intensity of rock, the freedom of free jazz, the hypnotic effect of ambient textures, and the complex, visceral rhythms of African music.

Jü plays the music of rapture: their themes, often seemingly austere, sometimes unfolding from repetitive swirls, their compositions drawing simultaneously on psychedelic and noise rock, folk and power jazz, are vibrant streams of sound resonating with primal force, capturing the musicians and listeners alike. The music evokes the golden age of seemingly disparate genres coming together, but beyond the obvious reminiscences, Jü is by no means traveling down memory lane to the fusion music of the late 1960s and early 1970s: by expanding the possibilities of their instruments, they transport their spellbound audience from the continuously flowing present straight into the future. Their first BMC Records album combines the intensity of rock, the freedom of free jazz, the hypnotic effect of ambient textures, and the complex, visceral rhythms of African music under the title Rudel. The album may seem an unusual addition to the label’s catalog: at first listen, the distorted guitars and raw energy evoke rock or metal bands, but beneath this surface, the musical core reveals the sophisticated approach of three musicians socialized in contemporary free music.

Jü plays the music of rapture: their themes, often seemingly austere, sometimes unfolding from repetitive swirls, their compositions drawing simultaneously on psychedelic and noise rock, folk and power jazz, are vibrant streams of sound resonating with primal force, capturing the musicians and listeners alike. The music evokes the golden age of seemingly disparate genres coming together, but beyond the obvious reminiscences, Jü is by no means traveling down memory lane to the fusion music of the late 1960s and early 1970s: by expanding the possibilities of their instruments, they transport their spellbound audience from the continuously flowing present straight into the future. Their first BMC Records album combines the intensity of rock, the freedom of free jazz, the hypnotic effect of ambient textures, and the complex, visceral rhythms of African music under the title Rudel. The album may seem an unusual addition to the label’s catalog: at first listen, the distorted guitars and raw energy evoke rock or metal bands, but beneath this surface, the musical core reveals the sophisticated approach of three musicians socialized in contemporary free music.