Keith Rowe / Ilia Belorukov / Kurt Liedwart
RUSSIA INTONEMA INT011 CD (2014)
As you might expect from Keith Rowe and anyone he plays with, tri is a carefully considered, improvised soundscape that mixes scrapes and scuffles with textural electronics, pauses and almost inaudible details.
As I listen through again this morning, my study window is open, and the birds outside, the distant sounds of the road and the window cleaner’s whistling, have changed the music again: the treated guitar sounds like distant thunder, contact-mic sounds like the wind pushing a storm away. Then something buzzcuts across, something rings like a distant phone, and the scene changes again.
Drones underpin much of this musical exploration, holding the noises together as a composition, one which ebbs and flows, regroups and splinters, time and time again. There is perhaps little unexpected going on here – musicians have been improvising this way for 40 or 50 years now, but Rowe and his colleagues on both long tracks here offer some of the best work in the field: tri is an enchanting, focussed example of abstract dialogue and discussion as composition in the moment.
Solo, Ilia Belorukov’s saxophone recorded live – the sleeve note says with ‘preparations’, whatever that means – is a noisier, looser affair. The first part sounds like wind in a tunnel, treated and amplified breathing made into endless cyclical wooshing drones, which the second’s sustained blown notes initially come as some relief from, although the slight shifts and repetition soon become tiresome. The third part is more textural to begin with, utilising more abstract sounds in the mix, before high skittering notes arrive, developing through a kind of electronic ping-pong section into a shriller solo with barking bass undertones. This lower end exploration gradually unfolds into a slower, more sonorous, Braxton-esque solo which, with its use of some kind of echo or delay, works as a stunning conclusion. The ghost of Evan Parker and other giants of improvisation can’t help but hover in the wings here, but Belorukov makes his own mark in a flurry of fragmented melodies and cascading tones.
Where Belorukov is perhaps most interesting is the way he moves from minimal, more abstract soundscape to solo saxophone improvisation within a more established field, musical genres which to some extent have diverged and separated over the years rather than engaged. As a CD, tri is more convincing, more focussed and engaged, but Tomsk… is perhaps more surprising and challenging, though I think Belorukov’s real strength is working with the saxophone rather than around it.
Intonema, a new label to me, produce exquisitely designed gatefold card CDs, with recording and artist information included on neat little card inserts housed in one half of the cover, the CD in the other. These are accessed by the neat trick of a shaped cutout across the inner card edges – perhaps in the shape of a person.