Alexander Noice – Perpetually and Forever (2026)

Alexander Noice returns with his 2026 release 'Perpetually and Forever,' an album that expands on his reputation for creating music that balances complexity with an engaging sense of playfulness. Known for his multi-instrumentalist approach, Noice takes on the majority of instrumentation here, weaving together guitar, piano, synthesizers, vocals, and programming to sculpt a richly layered soundscape.

While Noice’s 2019 album 'NOICE' featured a collective including alto saxophone, bass, drums, and dual vocalists, his latest work adopts more of a one-person band ethos. Nevertheless, rather than simplifying, he amplifies the density and interlocking melodies across the 11 tracks, blending jazz improvisation with composed elements and modern electronic production.

The album opens with "Love Makes the World Go Round," a track that embodies a complex, upbeat energy reminiscent of late 1950s and early 1960s optimism, albeit filtered through a contemporary lens. This is conveyed through sputtering synth lines, dynamic programmed drums, and soaring alto saxophone contributions that punctuate the recurring lyrical motif.

Following this, "Third Corso" contrasts the initial buoyancy with a frenetic, rave-inspired composition marked by overlapping melodic fragments and a relentless kinetic pulse. The track showcases Noice’s comfort with techno-inflected rhythms and layered sound design, offering a breathless auditory experience.

Among the album’s highlights is "Frank Defends Himself," a synth-driven piece that balances vibrant textures with moments of restraint. Here, the entrance of David Binney’s alto saxophone adds a disruptive yet exhilarating counterpoint, underscoring Noice’s talent for integrating experimental jazz elements within structured compositions.

One of the standout tracks, "Ayler in Loghaven," was conceived during Noice’s residency at the Loghaven Artist Residency in Knoxville, Tennessee. The piece channels an aggressive electronic aesthetic with influences akin to artists like Death Grips and The Knife, while tenor saxophone lines evoke the spirit of avant-garde jazz pioneer Albert Ayler. This synergy exemplifies Noice’s ability to fuse atonal jazz with expansive electronic soundscapes.

Joe Santa Maria’s performances across the album further enrich its texture, particularly on "Sinking the Santa Maria," where his improvisations on saxophone, flute, and bass clarinet intertwine with Noice’s multi-layered instrumentation to create a deeply imaginative sonic environment.

The album’s closing track, "Body Is Reality," offers a relative respite from the preceding intensity. This meditative piece features processed piano elements that construct a contemplative framework, providing a sense of resolution and calm while maintaining the album’s intricate compositional ethos.

Throughout 'Perpetually and Forever,' Noice demonstrates a distinctive capacity to inhabit spaces where musical complexity meets emotive expression. His work invites adventurous listeners to navigate a sound world that is simultaneously cerebral and heartfelt, echoing the adventurous spirit of musicians like Robert Fripp.

Details on supporting contributors and the full production process remain limited, but the album’s ambitious blending of jazz, electronic, and improvisational elements positions it as a noteworthy entry in contemporary music circles. 'Perpetually and Forever' thus stands as a testament to Alexander Noice’s evolving artistry and his continued exploration of genre boundaries.