Confront Performance Series

This is the first release in a new series presenting “quasi instant” recordings of concerts played by artists associated with Confront’s aesthetics, a 30-minute artefact in a plain metal box with no artwork and credits in small print on a business card-sized insert. Recorded at Dublin’s Unitarian Church – you can clearly hear the distant voices of the visitors at the beginning and end of the performance – this offering, in its responsiveness to non-existent silence, should put the term “reductionism” out to pasture once and for all. Everything derives from a few sources, yet the subtle intersections between Lacey’s eBowed monochord and the computer/mixer feedback activated by Vogel and Wastell soon become nodal points at which the music raises its head like a traveller awakening from sleep by a dusty roadside. The constitution of this three-way dialogue is further reinforced by enthralling halos of ride cymbal by Wastell (courtesy of what Pete Townshend would call “his supple wrists”), while Vogel adds sparse clarinet shapes to a unique architecture that sounds both delicate and perfectly synchronous with everyone’s intentions. It’s a “respectfully profane” invocation – in a sacred place, no less – which culminates in a concluding section where the slowly tolling cymbal becomes the natural substitute of the church bell that would never dare interrupt such intense communion. If this is just the beginning, we’re in for a lot of great new things from this exemplary label.

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