| 1. The cacophonous opening that is "Song One" sets the tone for this two-man outing. A simultaneous consolidation and companion piece to these two musicians' participation in the Square Peg outfit, it is also an exercise in stamina in pursuit of the nuances of noise: Grdina's use of MIDI guitar is an implicit challenge to Lillinger on drums and percussion. But the latter certainly rises to the occasion in the midst of all this action : cuts such as "Impala'' find these two jousting in time for the duration. Those less-than-two minutes, like each of the dozen tracks, not only generates a momentum of its own but also accumulates enough to carry over into the whole. So, "Ash" is one of the four formal compositions of the stringed-instrument wizard and it carries all the impact of the free-form pieces he improvised in tandem with his esteemed collaborator. As on "Encounters," their instantaneous exchanges during these thirty-eight minutes-plus bespeak a chemistry untainted by extraneous elements . Would there were more content like "Gerhard," however, because abrasive as it is, this piece furthers the revelation of ostensibly endless inspiration in play during these recording sessions |
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