Sounds that veer in and out of the category of music.
David Morecraft mixes his voice with various keyboards, Ben Powling adds saxophones, Arthur O’Hara contributes bass and voice, Luke Reddin-Williams beats the drums with percussion and Kieran McLeod guests on trombone for nine originals that sound like vintage fusion by Emerson, Lake and Palmer, but with an added tenor sax. Powling’s tenor echoes through the multi-layered R&B rocker “Deeper” and sounds like Andy McKay on the 70 grunger “Vendetta”. There are some peculiar Italian sounding whispers on “Sex Lies, Lies and Lies” and nonsensical words on the caffeinated “The Higgly Giggly Wiggly Woo” driven by Reddin-Williams’ high hat while O’Hara digs deep into the heavy handed “Pumped-Up Freddie”. Heavy Metal sax?
Are any eyebrows raised when on the credits Masami Akita is listed with “noise electronic” as well as percussion? Teamed with Mats Gustafsson on flute, fluteophone, baritone saxophone, “live electronics” (what hath Eno wrought?) and Balazs Pandi’s drum and percussion, the trio creates two albums of four “songs” ranging from just under 18 minutes to 23+. The result is fuzzy Hendrixy headbanging and noodles on “I Went Down To Brother”, thrashing electro converters on “And We Went Home”, droplets and multilayered tones akin to radiating heat on “We Went Up With Mother” and screaming saxes and thunderous pounding on “He Locked The Door”. The titles give more coherence than the music itself.