The Norwegian jazz scene is so fertile that anything with its roots in it can only thrive and multiply. The cracks between the more classic sounds of ECM and youngish upstarts like Rune Grammofon and Smalltown Supersound/Superjazzz leave plenty room for cross-pollination between jazz, noise and electronica, resulting in the sighting of some surprising new shoots. Exhibit A: new albums from Humcrush and Torben Snekkestad.

Humcrush showcases the percussion of Thomas Strønen and the keyboards of Supersilent/Elephant9 member Ståle Storløkken. Being sure not to forget their first, which was entitled Humcrush as opposed to being by Humcrush, this is their third album for Rune Grammofon. It was apparently recorded live, although given the level of detail with which it is recorded, you’d never believe it. It features one of the great Kim Hiorthoy’s better recent covers, an image of what looks to be two alien insects deep in animated debate. And when they launch into “Stream“, that is pretty much what it sounds like: two crickety things in mid-bicker. Strønen’s drum patterns dance around Storløkken’s instantly recognisable array of other-worldly sounds, before they lock horns in a staccato shuffle mid-song. After that, it all goes surprisingly ambient, and even occasionally a little flat. There are a few increasingly ambient backdrops by Storløkken which allow the impressively precise Strønen to show off the more esoteric gamelan-and-bells end of his kit. Amongst this are flashes of brilliance though, like when it threatens to go into full Supersilent mode on “Steam”, with the two once more knitting some spectacular and impossibly complex patterns. Don’t drink too much coffee before listening to all this fidgetiness.

Torben Snekkestad plays with Thomas Strønen in the duo Amongst Machines; with Storløkken’s Supersilent bandmate Arve Henriksen; and with many other luminaries of the Norwegian scene. His new album Conic Folded is a trio record, with Jon Balke on piano and Jonas Westergaard on bass, and as such aims to pay tribute to the great Paul Bley/Jimmy Giufffre/Steve Swallow lineup from the 1960s. It takes that starting point and runs with it: aside from the choice of instruments, a stately pace, and some brilliant interplay, for the most part it sounds little like them. There is a powerful restraint to the record, with Snekkestad spitting out short saxophone and clarinet figures, Balke responding with is own clipped parts, often using prepared piano, and weighty periods of silence. Snekkestad’s long, twisty solo in in “Flowers E.P” may sound more like that very famous E.P. of the avant-garde, Evan Parker and on the highlight “Undercurrents” he produces a long, unfolding drone; however repeated listening to Conic Folded yields a record that is less abstract than it may initially seem. Moments of melodic sparkle abound – for example, it would be difficult for anyone to deny the lyrical beauty of the solo “Seated Man”, on which Snekkestad’s mournful and breathy high registers sounds like the work of none other than Arve Henriksen himself. Conic Folded is highly rewarding, and highly recommended.

Dig in: Rest At World’s End is out now on Rune Grammofon, and Conic Folded from ILK.