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This quartet features notables of the British jazz-improvisation scene, such as multitasking reed and electronics man Martin Archer, who also serves as the proprietor of this adventurous record label. Prepare your mind's eye for a venture into a steely-edged and somewhat phantasmagorical joyride.
The artists' bag of tricks is rooted within an otherworldly mergence of King Crimson-type bone-crushing rhythms, along with riotous jazz riffs. James Huggett generates some shock treatment with his blitzing and rather weighty e-bass attack. And with some industrial music overtones, the quartet's pulsating ostinato rhythmic gyrations serve as a foundation for a sonic trip into the halls of doom. Take, for example, Huggett's gargantuan fuzz bass lines, often enhanced by hazy electric guitar sounds and harrowing background treatments.
On "Bad Phaser the musicians skirt the peripheries of minimalism amid a regimented offbeat topped off with a harmonious riff. Then, on "The Dematerialised Passenger, they churn out a programmatic groove, underscored by Charlie Collins' ghostly flute passages. The ensemble ups the tempo to coincide with Charlie Collins and Archer's diametrically contrasting solo work as a sense of the macabre finds its way into the free jazz scenario. It's a fascinating listen, indeed! (Exuberantly recommended...)
Track Listing: Greedy Angels; Time Stamp; Body of Incus; Collapsing Runways; Orion; Sulphur
(mercurated); Bad Phaser; Serpents; The Dematerialised Passenger; Solar Guitars.
Personnel: James Huggett: bass guitar, guitar, electronics, programming; Martin Archer: alto and
sopranino saxophones, bass clarinet, violin, electronics; Mick Beck: bassoon; Charlie
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.