‘The Rain Outside’ begins with the extraordinary: Talia’s delicate, spacious smatters & patters of clocks and breaking glass. Rising from these skittish sounds Slater, unleashes, trumpestuous: the world turns; the ground shifts and shifts, caving, until the rain outside is the rain inside.
The Incredible View’ shares with ‘For Bernie’ something of the same tonal quality: a hinting & restrained Magnusson plumbs and sounds the depths with a lurking sense of yearning melancholy. The magnified ensemble accompaniment swells magnussonic, and Keller’s propulsive piano outgrabes.
Soup Tin Baby’ is the first of two for this Quartet. Keller creeps from an Escheresque undergrowth Ascending and Descending, skipping & tripping as a hovering bird-like Ball comments and calls, frenzies pips and squeaks, outwrests with rasped abandon. On they fly.
Smells Like Music’ hits the ground running as if it couldn’t (& shouldn’t) stop. Bookended within seriously coordinated abracadabracketry, this is whiffling Whitehurst’s wend, which burbles and shines and bends. And so, it Ends.
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