Tim Feeney/Vic Rawlings _ In Six Parts

Sedimental
SED CD050

Though nominally in six parts, this is pretty much a continuous performance by Feeney (percussion, mixers) and Rawlings (cello, preparations, open circuits). The attacks vary in dynamics and structure, the latter often being the most interesting as there’s a kind of awkward casualness in the array of sounds and their sequencing that I found initially a bit off-putting but more and more endearing on subsequent listens. More importantly, heard as a whole there’s a definite peak and release aspect to the disc, at least to this listener.

The first couple of tracks are the roughest going, containing disparate series of harsh sounds mixed with “pure” wails, which I take it stem from the open circuitry. I find that particular sound somewhat shallow and unpleasant, one dimensional in a sense I don’t perceive with most sine tones, though perhaps that’s just me. Heard on their own, they’re mildly interesting if not captivating but when considered as steps toward what follows, they work superbly. It’s the third track, a quiet display of hums, low, burred tones and soft, high ones that ties together the preceding music, as though they’d sifted through, found the richest nuggets then used them as the basis for further exploration. This continues into the fourth segment with added crackles and dark cello scrapes. Each of these last two is a beautiful piece, both as self-contained works and in their role as “bridge” to the conclusion of the recording. When the activity returns to a brasher, gnarlier area on the next track, there’s still a fine lingering taste of the quietude, lending the renewed harshness an enhanced underpinning and depth; you get the feeling that track five wouldn’t have been possible without all of the precedents. The final track does a brilliant job of summing all the previous elements into a wonderfully cohesive package. Hell, it almost sounds “heroic” at some points as the sustained high pitches acquire a semi-tonal character and play off the deep, cello growls, providing an especially delicious counterpoint.

A very satisfying, well-conceived album from two musicians not heard often enough.

sedimental