album, for example. However, there are moments when the overall clavinet sound is a tad thin, although the deep bass lines on a per-track basis more than compensate.
"Forelock" conjures notions of Crimson's Larks Tongue In Aspic era amid punishing breakouts and Powell's distortion- heavy permutations, twirling notes, and ostinato phrasings. And on certain passages he injects ethereal layers and fuzz-toned treatments. While "Nork" is a piece that attains searching qualities in a sea of phased sounds and the drummer's rumbling patterns. Here, Powell dishes out a psyched-out solo atop bassists Bill Laswell
's elongated notes, for a composition that also bridges surrealism with Eastern modalities. Other tracks are designed with guileful and evasive dialogues, sprinkled with free-form improvisations.
The closer "Piehole," is an upbeat space jam where Mastelotto pushes, prods and takes a solo that re-energizes the piece into alternating cadences and a topsy-turvy schematic. Pleasantly insane and markedly outside the box, the musicians ignite dry tinder in a sprawling forest of progressive rock-isms.
Personnel: Roy Powell: Hohner clavinet, FX pedals; Bill Laswell: electric bass;
Shanir Ezra Blumenkranz: electric bass; Lorenzo Feliciati: electric
Bass; Tony Levin: electric Bass; Pat Mastelotto: acoustic and