Graham Stephenson/Dave Barnes - s/t

(Self-released CDR)

I received this recording at the same time as the fine duo release on Manual by Jin Sangtae and Park Seungjun and quickly found myself thinking of them as something of an (unintentional) pair. Both have a direct intensity of interaction that reminds me, in a good way, of old-school free improv, an innate and punch-in-the gut kind of expression that’s very bracing without being off-putting in any overly dramatic or machismo manner.

Leaving aside the preciousness of the on the instrumental line-up as listed (“air” and “electricity” ascribed to Stephenson and Barnes respectively) and the distracting nature of the four tracks titles (“Sexists Exist”, “A Cyst”, “35,000 Sq Ft of Faith”, and “Mutton Busting”), the music is varied, unfailingly solid, occasionally fierce and almost always rewarding. Stephenson, presumably forcing the aforementioned air through some assortment of hollowed columns, becomes entirely of a piece with Barnes’ more overt electronics, the pair often coming to resemble areas between short wave channels, an excellent place. Things get a bit disjointed and drift toward more prosaic noise-scapes on the second track. As with portions of the Manual release, they sometimes recall Voice Crack, including using more rhythmic elements than I find necessary, but then they ratchet up that conception several notches on the lengthier, and very impressive, third cut.

Beginning with a long, harsh flutter of electronics, the piece billows into space, fanning out delta-like, picking up fascinating bits of detritus along its flow and tumbling them over layers of sonic sediment. Like most good improv, there’s an elemental ineluctability to it, a naturalness of progression that feels unforced and powerful at once. It’s an almost non-stop surge, incorporating electronic stutters, displaced voices and an enormous range of pitches and textures. Again, as might be said of many a fine “traditional” improvised duo, it really sounds as though there’s one consciousness behind the ideas. By itself, one of the chewiest, richest works I’ve heard this year.

The final piece mutes matters considerably, slightly softening the extreme edges of the music even if the essential thrust remains as active and maximalist as ever. It’s an effective decompression, allowing some light and oxygen into the proceedings and closes out a very, very good recording.

Available through erstdist