Two Many Things
By Many Things — Album Review
What does it mean to push the boundaries of genre while maintaining a sense of identity? For Many Things, a cross-genre instrumental trio from Chennai, India’s ever growing vibrant music scene, this question is central to their latest release, Two Many Things. Following their debut album, First Things First (June 2023), this second studio work reaffirms the band’s commitment to exploring the intersection of composition and improvisation through jazz, rock, classical, and funk influences.
A Well-Curated Palette of Improvisation and Intent
The artistry of Many Things — featuring Maarten Visser (saxophone), Aravind Murali (bass), and Manukrishnan (drums) — lies in their delicate balance of spontaneity and precision. Tracks on Two Many Things seem to emerge from unbridled creative dialogue while remaining rooted in deliberate structure, a theme that feels like the conceptual glue of the project.
Throughout the six tracks (all with the playful “Thing” moniker), the album effortlessly pivots between textured improvisation and intricate composition. While their debut album leaned heavily on establishing their name with simpler titles, this album reflects a more layered thematic ambition — an assertion of maturity in their evolving discography.
Track-by-Track Highlights
1. Thing Tank
The album opens with Thing Tank, a track rich in complexity and curiosity. While it may take listeners a few spins to unravel its layers, this feels intentional — a sonic puzzle crafted to evoke exploration. The push and pull between Maarten’s fluid saxophone lines and Manu’s intricate, almost conversational drum patterns creates a delightful tension. The track refuses to conform, demanding attention as it drifts between avant-garde abstraction and refined interplay.
2. Any old Thing
At almost 12 minutes, Any old Thing is the second longest track in the album, radiating a nostalgic warmth akin to pulling a dusty vinyl from its sleeve. Dreamlike and delicate, it feels like a reverie — a longing glance into an imagined past. The contemplative repetition of motifs adds to its hypnotic appeal, inviting listeners to sink into its gentle, caressing rhythms. It’s a lush auditory experience, evoking candle-lit evenings spent immersing oneself in another era.
3. Annoying little Thing
Contrary to its title, Annoying little Thing is a delightfully clever piece that uses its opening seconds to toy with expectations. The track playfully incorporates sounds often associated with irritation — a crying baby, a honking car — before transforming them into a groove that exudes charm. The subtle irony of this choice demonstrates the trio’s willingness to inject humor into their artistry without sacrificing depth. Maarten’s versatility on the saxophone once again takes center stage, transitioning between these opposing energies with fluidity.
4. Village Thing
Perhaps the album’s emotional centerpiece, and my favorite track of the album, Village Thing encapsulates an evocative sense of nostalgia packaged in layers of innovation. The track begins with the bass and sax entwining like old friends strolling through dewy fields at dawn, inviting you to paint your own vision of a rural landscape. At around the 2:50 mark, Manu ignites a rhythmic pulse brimming with the energy of rural celebrations, instantly transporting me to a scene of festival drums, bustling markets, and distant melodies — before the track gently dissolves into a meditative flow. Aravind’s bass leads playfully yet confidently alone for a few seconds, and then holding space for Maarten’s saxophone, which anchors the track as its soulful center. The result is a piece that feels strangely universal, echoing cultural landscapes both distant and familiar.
5. State of Things
State of Things stands as the album’s longest and most introspective track, stretching over 20 minutes of intricate, evolving textures. It is a contemplative piece that thrives on its meditative, melancholic themes. It mirrors the shifting “state of things” — a quiet reflection punctuated by moments of emotional climax. This is Many Things at their most cinematic and deliberate, weaving complex layers in their narrative with every note carrying patience and purpose. Each instrument is given space to breathe, yet they intertwine seamlessly, creating an immersive soundscape where individual voices contribute to a collective emotional arc. The trio manages to build an atmospherically immersive experience while highlighting each individual instrument in perfect harmony.
6. 30000 Things
Closing the album is the tour de force 30000 Things, a sprawling track that seems to encapsulate the album’s overarching aesthetic. It feels like a story within a story, where the trio leans into their improvisational strengths while hinting at a cohesive motif running throughout. This multifaceted finale is a testament to the band’s collective synergy, leaving listeners marveling at their ability to shape chaos into harmony.
Thematic Cohesion and Sonic Identity
One of Two Many Things’ most intriguing elements is its conceptual continuity. The inclusion of “Thing” in each track title is more than a branding device — it creates a thread that ties the album’s diverse sonic landscapes into a shared identity. This identity celebrates the joy of musical exploration, the richness of collaboration, and the beauty of deliberate inconsistency. With their second studio album, the band Many Things is showing us how the band harnesses collective proficiency and an innate understanding of their instruments to push beyond conventional jazz structures while maintaining accessibility. This album establishes their solid footing in the music scene.
The layered and self-referential qualities of their compositions call to mind the subtle playfulness noted in many popular albums in the genre. Both the band’s studio albums exhibit a tension between function and ethos, with the latest album Two Many Things perhaps placing heavier emphasis on audience immersion.
Final Notes
Two Many Things is an extraordinary act of controlled spontaneity, where precision coexists with a boundless sense of curiosity. Each performance invites the listener to witness a dialogue, as much between the musicians as between past and future musical influences. The album, clocking in at just over an hour and nine minutes, is an auditory expedition suited for those who value jazz in its raw, experimental state.
Much like Vijay Iyer and Wadada Leo Smith’s Defiant Life, which I was listening to earlier this week, there is an undeniable sincerity in the intent behind Every Thing (pun intended) on this record. The fluid boundaries of composition versus improvisation serve as both a challenge and reward for the listener, inviting endless replays to uncover its depth.
For anyone seeking the creative edge of fusion jazz, Two Many Things is an immersive, thought-provoking collection that reflects a masterclass in collaboration. It doesn’t just tread the fine line between planning and improvisation — it lives and thrives on it. Many Things has once again proved that their blend of intellect and instinct is a vital force in the contemporary jazz landscape.
The album officially releases on April 5, 2025.
It is available for purchase on Bandcamp.
Happy Listening!
