“The first thing that strikes the listener is the vast contrast of moods in this release. Dizzying speed, virtuosity of contrasts and the free flow of ideas in ‘Purl’ pushes ever twisting forward and upwards. The vast open spaces and subtle timing in the infinite time perception of ‘Bloom’ purveys a serene feeling of deep introspection. The rough metal-like cuts and stabs in ‘Park’ build to an excruciating climax, and the leisurely stroll of ‘Cooking Apple’ is like a summer’s day. The ideas shared between ‘Yes, Sometimes’ and ‘One Up’ do not hint at musical fatigue, but creates a welcome return to ideas in different treatments that lead to very different paths. The computer’s infinite variation in timbre and density is combined with a fine sense for spatialization, and this is readily met by a very large range of unorthodox playing techniques from the double-bass which responds with a plethora of colors â€“ at times very instrumental, at times almost humanly.
The fine rapport between the players is at moments instantaneous to the point of magical synchronicity, yet there are moments they engage a relentless tugging that seemingly refuses to dissolve a significant contrast. And at other moments the playing is relentlessly sustained, in stubborn determination to bring a musical moment to its final consequences. A very pleasant aspect of the release is the playful treatment of the many rhythmic motives. From the jagged cells arise pulsations which at times assemble our feeling of time into familiar meters, sometimes almost break the musical ongoings into a splintered chaos. The use of space and repose in the rhythmic flow is very convincing, providing contrast at those exact moment when it is needed the most. It carries the phrasing in long, sustained flights, which at times seems blatantly misplaced with the pulse, only to hit a distant downbeat with perfect timing.
The improvised origin of the music does not betray itself in the tracks’ structure, which is always focused and consistent. The exchange of ideas is completely free and natural without loosing the continued musical direction, and this is what ties the inner nature of each track so neatly together, to produce compact micro-worlds of instantaneous exploration.
The recording was made during 90 minutes on May 6 2010 in Sydney, Australia.”