Receiving wide praise for their first, self-titled album in 2010 recorded and mixed by legendary producer Martin Bisi. The Jazzfakers while busy playing gigs throughout NYC, recently went back to the studio to record their second full- length album. This time at Funkadelic Studios, recorded by Brett Zweiman (Clutter) and mixed and masterfully mastered by the Jazzfakers own Robert Pepper (also PAS). "...their music engages you, pushes forward and simply knows how to surprise and amaze you. Therefore this is not exactly to be considered Jazz, but more of a swirling cocktail of The Residents, Tuxedomoon, John Zorn, King Crimson, Ornette Coleman, John Lurie, Supersilent, and Shining Sun Ra. It's all in all even more interesting than I had hoped to pre-empt. Exceptional class!" Jan Willem Broek (De Subjektivisten) Adding new sound and talent, the Jazzfakers have brought onboard on bass and electronics Raphael Zwyer. He helps to contribute more drive to the second album, as they venture further into new and different, genre-bending and experimental territory. "Two" is an album that perfectly illustrates the craziness of the cultural melting-pot of New York City. It reflects also the spirit of an upcoming New York art and music scene. From the start, "Swift Time DNA" hits it, right away with an elastic bass line under layered by a propulsive, straight- ahead drum pattern. A suspense-organ theme comes in soon after, followed by an uncomfortably screeching violin. This cut would serve well as the soundtrack for a yet unseen Tarantino/Wallace co-production. Just as their name suggests, they fool you with some "fake" Jazz, as in the beginning of "Flower Cacophony" where an evil twisted version of a swing rhythm with a reversed walking bass line gets picked up by Tamura's masterful saxophone lines (Jazz-genre-cross-referencing all by themselves) only to be slowly deconstructed by a wild whirlwind of unearthly space-sounds at the end. "Fakin' the Rapture, Fakin' the Jazz" sounds like part of the Sun Ra's Arkestra gone nuts whereas "Kenny G Voodoo Ceremony" has about as much to do with Kenny G's Easy Jazz style as who knows what? In fact it's a refreshing improv jam of beautifully outer-worldly noises, picked up unexpectedly and pushed forward by a tribal drum rhythm from Orbach' s drum kitchen. There are Krautrock influences, most obvious in "Flying Carpet Transport" with it's restless, forward-driving, at times murky groove and it's spheric, furious, constantly shifting synth-washes layered on top. The Jazzfakers know what they're doing: "We don't aim to sound like anybody or anything. We work on kind of an instant composing basis. What is reflected in our songs are stories written by our lives if you will; they are a combination of our individual listening and playing experiences that come up naturally when we open our channels. We're limited only by the limits of our own technical or manual skills." As we hear on their second album, their playground is far from being narrowed by limited skills. In times of lower production barriers and countless open-sourced self-distribution channels along with the enormous flood of available sonic randomness (some of it wrongly claiming to be unique and different), the Jazzfakers' second outing is a refreshing, raw and unique gem of genre-crossing, cross-referencing original, rare and well worth listening to artistry.