This new trio, formed by Discus head Martin Archer along with pianist Pat Thomas and percussionist Johnny Hunter, seems to be as much about the spaces in between the notes as about the sounds and textures themselves.
Spread over four pieces that hover in the hinterland between dreams and waking, the sounds in opener “Rotten Start” eke out of the speakers, hints of horn more breath than note, faint touches of percussion that shiver in the half light, as much hand-held as kit, the piano acting more as a percussive counterpoint, stern notes resounding and drifting into silence.The sax is like watching butterflies in a field, that inexplicable movement flitting between light and shade; but what sets these pieces apart is the consideration given towards each sound and perhaps even more so, the silence in between.
The sweetness of the sax tone can descend into a purring groan as the atmosphere becomes more shadowy, a touch of mystery drifting as the piano checks the trickier sax while percussion appears like a phantom, changing shape and tone at every chance. The progress is subtle but the build is inexorable and the piano is suddenly on the run, a half -remembered honkytonk image breaks free with the percussion in hot pursuit until everybody is involved, the artists shining, reflected in the studio’s glow. Martin’s use of electronics in some pieces lends them a whole other angle, edging into sci-fi territory with an atmosphere of creeping dread somehow evoked with the sparest of details. Dark piano notes with cavernous echo can’t shed light into distant corners and just dissolve into silence, so we just have to wait and see what unfolds. Cymbal touches heighten the anticipation and as it is impossible to second guess the direction, and we are rapt as the tension builds around the scattered sounds.The calling of some fantastic birds roosting on unseen rafters causes a flurry of drama until the tension reforms. It is pretty breathless stuff and is as much about the spaces; silence very much being the friend of this particular trio, with the use of electronic propelling things into very different places. The pensiveness of the sax towards the end hints at jazz; but really this is an experiment in atmosphere, the sense of early morning calm drifting around the piano and the scene setting percussion.
This album moves through a lot of different scenes and atmospheres, but is always describing a fresh scenario that the listener isn’t expecting. It is an exciting and tense listen that draws fresh sounds from the three players. As a one-off experiment, it is a fascinating and essential listen.-Mr Olivetti-
