Church Andrews and Matt Davies
Axis
Boomkat Product Review:
Outstanding fusion of complex percussion and ductile synthesis from Kirk Barley in Church Andrews mode, beside Matt Davies - Big one for anyone on the line from Mark Fell to Beatrice Dillon, Rian Treanor & Ocen, and David Behrman
Conceptually and aesthetically following up 2020’s ’Neighbours’ album, Andrews & Davies brilliantly continue their pursuit of slippery, mutant drum and synth frameworks on ‘Axis’ with a fresh tilt toward jazz inspirations. Experimenting with “timbre, tunings, time signatures and temporals”, they craftily slink in the gaps between styles of jazz, dub techno and hip hop with a compelling grasp of free-formed funk discipline and minimalism that crisply future proofs their sound.
Where previous explorations of this set-up resulted in more angular structures, they resolve around more fluid and subtly kerned permutations on ‘Axis’, at times like a mellower adjunct to Rian Treanor’s jams with Ugandan fiddle player Ocen, or like the squirming funk of Mark Fell & Gábor Lázár’s ’Neurobiology of Moral Decision Making’ meets the live sparks of David Behrman’s systems-based music.
Puckered with abundant bittersweet melodies and prone to knit limbs in deadly knots, the whole thing lends itself perfectly to open-minded ‘floors, with outright aces in the pendulous swag of ‘Romanesque.’ subtly contrasting the razor-feathered flurry of ‘Gallop.’ tight jazz-funk 2.0 of ‘Straws’, and the lilting Afro-Brazilian fusion feels secreted in ‘Ghost.’ or ‘Giant.’, while ‘Trace (Album Version)’ is as close as you’ll get to Beatrice Dillon’s contemporary classic ‘Workaround’.
Class!
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Boomkat Product Review:
Outstanding fusion of complex percussion and ductile synthesis from Kirk Barley in Church Andrews mode, beside Matt Davies - Big one for anyone on the line from Mark Fell to Beatrice Dillon, Rian Treanor & Ocen, and David Behrman
Conceptually and aesthetically following up 2020’s ’Neighbours’ album, Andrews & Davies brilliantly continue their pursuit of slippery, mutant drum and synth frameworks on ‘Axis’ with a fresh tilt toward jazz inspirations. Experimenting with “timbre, tunings, time signatures and temporals”, they craftily slink in the gaps between styles of jazz, dub techno and hip hop with a compelling grasp of free-formed funk discipline and minimalism that crisply future proofs their sound.
Where previous explorations of this set-up resulted in more angular structures, they resolve around more fluid and subtly kerned permutations on ‘Axis’, at times like a mellower adjunct to Rian Treanor’s jams with Ugandan fiddle player Ocen, or like the squirming funk of Mark Fell & Gábor Lázár’s ’Neurobiology of Moral Decision Making’ meets the live sparks of David Behrman’s systems-based music.
Puckered with abundant bittersweet melodies and prone to knit limbs in deadly knots, the whole thing lends itself perfectly to open-minded ‘floors, with outright aces in the pendulous swag of ‘Romanesque.’ subtly contrasting the razor-feathered flurry of ‘Gallop.’ tight jazz-funk 2.0 of ‘Straws’, and the lilting Afro-Brazilian fusion feels secreted in ‘Ghost.’ or ‘Giant.’, while ‘Trace (Album Version)’ is as close as you’ll get to Beatrice Dillon’s contemporary classic ‘Workaround’.
Class!
Boomkat Product Review:
Outstanding fusion of complex percussion and ductile synthesis from Kirk Barley in Church Andrews mode, beside Matt Davies - Big one for anyone on the line from Mark Fell to Beatrice Dillon, Rian Treanor & Ocen, and David Behrman
Conceptually and aesthetically following up 2020’s ’Neighbours’ album, Andrews & Davies brilliantly continue their pursuit of slippery, mutant drum and synth frameworks on ‘Axis’ with a fresh tilt toward jazz inspirations. Experimenting with “timbre, tunings, time signatures and temporals”, they craftily slink in the gaps between styles of jazz, dub techno and hip hop with a compelling grasp of free-formed funk discipline and minimalism that crisply future proofs their sound.
Where previous explorations of this set-up resulted in more angular structures, they resolve around more fluid and subtly kerned permutations on ‘Axis’, at times like a mellower adjunct to Rian Treanor’s jams with Ugandan fiddle player Ocen, or like the squirming funk of Mark Fell & Gábor Lázár’s ’Neurobiology of Moral Decision Making’ meets the live sparks of David Behrman’s systems-based music.
Puckered with abundant bittersweet melodies and prone to knit limbs in deadly knots, the whole thing lends itself perfectly to open-minded ‘floors, with outright aces in the pendulous swag of ‘Romanesque.’ subtly contrasting the razor-feathered flurry of ‘Gallop.’ tight jazz-funk 2.0 of ‘Straws’, and the lilting Afro-Brazilian fusion feels secreted in ‘Ghost.’ or ‘Giant.’, while ‘Trace (Album Version)’ is as close as you’ll get to Beatrice Dillon’s contemporary classic ‘Workaround’.
Class!
Boomkat Product Review:
Outstanding fusion of complex percussion and ductile synthesis from Kirk Barley in Church Andrews mode, beside Matt Davies - Big one for anyone on the line from Mark Fell to Beatrice Dillon, Rian Treanor & Ocen, and David Behrman
Conceptually and aesthetically following up 2020’s ’Neighbours’ album, Andrews & Davies brilliantly continue their pursuit of slippery, mutant drum and synth frameworks on ‘Axis’ with a fresh tilt toward jazz inspirations. Experimenting with “timbre, tunings, time signatures and temporals”, they craftily slink in the gaps between styles of jazz, dub techno and hip hop with a compelling grasp of free-formed funk discipline and minimalism that crisply future proofs their sound.
Where previous explorations of this set-up resulted in more angular structures, they resolve around more fluid and subtly kerned permutations on ‘Axis’, at times like a mellower adjunct to Rian Treanor’s jams with Ugandan fiddle player Ocen, or like the squirming funk of Mark Fell & Gábor Lázár’s ’Neurobiology of Moral Decision Making’ meets the live sparks of David Behrman’s systems-based music.
Puckered with abundant bittersweet melodies and prone to knit limbs in deadly knots, the whole thing lends itself perfectly to open-minded ‘floors, with outright aces in the pendulous swag of ‘Romanesque.’ subtly contrasting the razor-feathered flurry of ‘Gallop.’ tight jazz-funk 2.0 of ‘Straws’, and the lilting Afro-Brazilian fusion feels secreted in ‘Ghost.’ or ‘Giant.’, while ‘Trace (Album Version)’ is as close as you’ll get to Beatrice Dillon’s contemporary classic ‘Workaround’.
Class!
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