The buzzing Bristol duo of vibraphonist Harriet Riley and fiddler supreme Alex Garden tumble their inspired collaboration into its second Sonder volume, taking bassist Stevie Toddler along for the journey and pushing one another a little further into where their two musical palettes collide.
The previous album‘s sunny disposition has been replaced by some tones of a darker hue, and the pace is lessened at times to allow shadow and shade to enter the images. The album does start with a band, though and the trio jump into action immediately, with Stevie’s bass more integral to the sound this time around.
The vaporous vibes bubble around the hyperactive violin as the lugubrious bass holds the low end in check. The violin is so nimble and so unwilling to repeat itself that it is almost dizzying as the pieces constantly strive in different directions.
At times there is a folkiness to the violin’s narrative; but on the whole, Alex tends to tread a fine line that steps around any obvious reference points. It feels as if the playing is too fleet to be bogged down by labels and he just takes himself where the piece urges him in particular. When the vibes and bass are brought to the fore, an earthy, sleepy jazz tinge is reflected, but it is the faintest of reflections before the violin draws them back out of the reverie.
I don’t know if everything is plotted out beforehand, but each track does feel as though it dictates its own direction at that moment, an impressionistic blur of movement and stasis that unfolds in real time, slow and shimmering or madcap and effusive. On “Spicula”, you realise just how much the bass brings to the recipe, and then that breathy, brief flirtation of flugelhorn and the journey is complete.
“Palindrome III” finds the violin a little more muted, allowing the body of the vibraphone to make its way into the mix as the keys are struck, that dull thud merging effortlessly with the spiralling violin, whirling in mesmerising shapes. It is definitely an outdoor album, and one that finds beauty in the shapes and textures of nature; but somehow showing them in this new light that is the coming together of these four disparate instruments. When the flugelhorn finally arrives on “Tryst”, it is a little like seeing an image through a kaleidoscope suddenly coning into focus, showing exactly what is needed.
The finale, “Nubivagant”, is a gradual sweep towards hope, that gradual reaching for a burst of light seen through clouds, spearing finally and drenching all in warmth. Stevie somehow embodies that warmth and whether bowed or stroked, his bass is always guiding them onward. Although all three occupy such different places in the mix, they step in and out of each other’s shadows like kids playing on a sunny day.The album is a tour de force and one which pushes their image of what Sonder means onto another level. Finally, they are also able to take it on the road; so snap this up while you can and then check them out in the flesh. You deserve it.
-Mr Olivetti-
