Lotte Anker, Fred Frith - Edge of the Light (2014)seeders: 1
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Lotte Anker, Fred Frith - Edge of the Light (2014) (Size: 225.76 MB)
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Lotte Anker / Fred Frith
Edge of the Light 2014 - Intakt Records: Intakt CD 237 http://www.intaktrec.ch/236_237-a.htm  * Lotte Anker: saxophones * Fred Frith: electric guitar http://www.lotteanker.com/ http://www.fredfrith.com/ Recorded at Village Recording, Copenhagen, July 11, 2010. Engineer: Thomas Vang. Reviews By Jason Bivins http://www.pointofdeparture.org/PoD50/PoD50MoreMoments2.html Guitarist/composer Fred Frith loves to play in duos, testing the malleability of his own instrumental language as well as its adaptability to varied pairings and styles. It’s good to hear more of him in this format, both on the recent release with John Butcher and on these two fine documents from Intakt. Saxophonist Anker plays in an assertive, tough-minded style that’s well suited to improvising with Frith. She digs in and wails as he cranks out chords and taps furiously on “Anchor Point,” and her assured rhythmic sensibility works quite well here and throughout the well-paced disc. While her sound doesn’t undergo as many outward transformations as Frith’s does, she’s smart, adaptable, and plays with good humor. Hear her range on “Run Don’t Hide”: its sweet drone wash cedes to one of Frith’s wonderfully obsessive tapping/arpeggiating cycles, to which Anker responds with first echolalia and then sour alto birdcalls. Frith plays with loops, layers of nasty distortion, metallic scrambles, and buzzing hives of noise, and amidst it all, Anker sounds like some kind of shaman attempting to communicate with the cosmic realities of his guitar (except for those times when she sounds like she’s trying to tame its beastliness, as on “Reasonably Available Control Measures”). But there’s considerable sonic and textural range here, from tart lyricism to relative calm to gentle lapping percussion, and in any case things are never merely noisy. Amidst its flinty, choked-off plucking and darting tenor, “The Mountain is as Quiet as the Eternal Past” manages to get quite folkish in places. There is drifting tonality, wafting electricity, singing feedback and circular breathing on tunes like “The Same Dirt” and “Hallucinating Angels,” great whorls of sound take shape around your head. And perhaps best of all is the unpredictable “Thief Breaks Into an Empty House,” with flute tones and electronics whizzing about, furtive and slashing at once. [...] -- By John Fordham http://www.theguardian.com/m...rith-lotte-anker-review-jazz By Tor Hammerø (no) http://torhammero.blogg.no/1420771840_fri_frith.html By Julia Neupert (de) http://www.swr.de/swr2/musik...d=12628344/8pwcuz/index.html Di Marco Maiocco (it) http://musicheparole.wordpre...14/12/16/un-oceano-di-suoni/ Par Pierre Tenne (fr) http://www.djamlarevue.com/l...red-frith-edge-of-the-light/ Sharing Widget |