Australian percussionist and composer Laurence Pike is always thinking beyond the obvious realms of percussion-based music and over the course of the last few years has been deliberating over a requiem for voice and percussion. The death of his father-in-law was the catalyst that saw this project begin to take shape and what he has finally released is an outstanding memorial that also works as a fine musical adventure.
The primal natural world rhythms and wilful ululations are an impressive scene setter, but what is really great about Laurence is his desire not to showboat or beat you over the head, but to use rhythm to move you emotionally. There are no constant drum solos and endless fills, but a more insidious exploration of what can be attained.
He also isn’t afraid to tinker electronically and lend a sense of unreality to some of the percussive textures, and the juxtaposition between the rhythmic depth and soaring purity of the voices is an integral part of the suite. The eight different sections use different percussive frameworks, some with more momentum than others, and The Undreamt-of Centre is an album that needs volume. On a first play late at night, the details were a little lost; but as soon as the volume is cranked, the vibrancy and nuance is right there. Woodblock repetition drops in and out of the galloping “Mountains Of The Heart”, but is kept in check by a loop of dropped sticks; while “Universal Forces” has a more abstract nature, drawing breath and exploring the textural possibilities. Bells are scattered across the short but sweet “Undreamt-of Centre” and a gentle piano motif lingers though “Eurydice”, opening your mind and giving opportunity to consider where this might be leading. It feels like the aftermath of something, as if the thought of starting again is fraught with difficulty.The drone of “Requiem Aeternam” sweeps everything clean again, the gauzy synth ambience joining with the voices as part of the wash as polyrhythmic interference gradually builds into something equally compelling. The juxtaposition of parts is a constant joy and the feeling of conclusion in the final section “All Is Distance” contains a glimpse of something that exists outside of our obvious frame of reference, setting sights on an indistinct future.
Once again, Laurence Pike’s vision and deftness of touch brings us a work that is a real pleasure, yet also one that sets us thinking. Mortality is a a part of it; but in some respects, it feels like the beginning of something else.-Mr Olivetti-
