Cornered Yet Climbing ft. Kelly Jayne Jones
Fevered Realities
Cornered Yet Climbing ft. Kelly Jayne Jones
Fevered Realities
Boomkat Product Review:
**Fathomless improvisation by Tombed Visions bossman David McLean, together with Pascal Nichols and Kelly Jayne Jones ov Part Wild Horses Mane On Both Sides. Over one hour of free-jazz, crushing metal, electronic drones and wigged-out psychedelia from endlessly inventive players. C63 tape housed in oversized case with pro-printed J-card. Edition of 35 includes instant download dropped in your account**
"Pascal Nichols and David McLean reactivate their Cornered Yet Climbing duo, returning to record ‘Fevered Relaties’ with the crucial inclusion of Kelly Jayne Jones, Nichol’s long term collaborator in Part Wild Horses Mane On Both Sides. What results is a more cohesive and refined collection of improvisations which, whilst touching on a similar array of sonic sources exhibited on their debut ‘Reclaiming Fire’, is detectably more focused in mood and temperament. There is a ritualistic quality to each of the 5 pieces that make up the record, melding digital processing with acoustic sources and drenched in a sheen of chambered reverb that at times sounds liturgical.
‘Raw Healing’ erupts with scuzzed out synths and blasts of intermittent percussion, Nichols setting entirely his own rhythm. The angularity of the beginning softens into a slow burning exchange of forlorn, dreary saxophone from McLean and a steady, funereal pace from Nichols which Jone’s flute dances between. The opiate fog of this march is routinely shattered by blurts of screaming Tenor Sax and bombastic percussion and Jones dials in otherworldly samples. What’s left of a song is gutted into seas of static glitch and textural explorations that pan round listeners ears, creaking and snapping with brutal clarity against a sheet of silence. ‘Two Holed Experiment’ follows as one of the most unique takes on the record, a mixture of sandblasted tones and pounding bass drum exhaling into one another, having more in common with Sandwell District and Emptyset at their most crepuscular than any improv curiosity. ‘Calm Winds Carry he Breath of Birds’ sees the trio at their most pastoral, with samples of bird song intertwining with call and response alto saxophone and flute, jousting around Nichol’s martial drumming. He and Kelly eventually pair off in a Kabuki theatre inspired duo, her flute flowering Shakuhachi tones in an Orient inspired flight of melody anchored by shamanic drums and crystalline synth pads. It marks one of many instances of telepathic interplay from the pair, full of a richness of space and drama that colours the entire record. ‘Islands of Opium’ furthers the two’s theatrical exchanges before Pascal detonates into a skittering percussive solo, playing almost an anti-time signature yet somehow managing to keep a feeling of propulsion against waves of hazed out synths and ghostly flute tones.
The 20minute epic ‘Saudade For Rain Tunnels’ that bookends the album is a perfect summation of the trios heady investigative work. Beginning with ominous gong chimes and fluttering flute, a stomping corrupted dub beat rises with a drenched sample of rain fall that acts as the foundation for more morose interplay between tenor sax and flute and the occasional mangled free jazz explosion of drum and sax. The near Celtic melancholy that emits from McLean’s sax brings round a circularity to albums end and echoes the breathy, sullen passages of opener ‘Raw Healing’ but in more extended form."
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Boomkat Product Review:
**Fathomless improvisation by Tombed Visions bossman David McLean, together with Pascal Nichols and Kelly Jayne Jones ov Part Wild Horses Mane On Both Sides. Over one hour of free-jazz, crushing metal, electronic drones and wigged-out psychedelia from endlessly inventive players. C63 tape housed in oversized case with pro-printed J-card. Edition of 35 includes instant download dropped in your account**
"Pascal Nichols and David McLean reactivate their Cornered Yet Climbing duo, returning to record ‘Fevered Relaties’ with the crucial inclusion of Kelly Jayne Jones, Nichol’s long term collaborator in Part Wild Horses Mane On Both Sides. What results is a more cohesive and refined collection of improvisations which, whilst touching on a similar array of sonic sources exhibited on their debut ‘Reclaiming Fire’, is detectably more focused in mood and temperament. There is a ritualistic quality to each of the 5 pieces that make up the record, melding digital processing with acoustic sources and drenched in a sheen of chambered reverb that at times sounds liturgical.
‘Raw Healing’ erupts with scuzzed out synths and blasts of intermittent percussion, Nichols setting entirely his own rhythm. The angularity of the beginning softens into a slow burning exchange of forlorn, dreary saxophone from McLean and a steady, funereal pace from Nichols which Jone’s flute dances between. The opiate fog of this march is routinely shattered by blurts of screaming Tenor Sax and bombastic percussion and Jones dials in otherworldly samples. What’s left of a song is gutted into seas of static glitch and textural explorations that pan round listeners ears, creaking and snapping with brutal clarity against a sheet of silence. ‘Two Holed Experiment’ follows as one of the most unique takes on the record, a mixture of sandblasted tones and pounding bass drum exhaling into one another, having more in common with Sandwell District and Emptyset at their most crepuscular than any improv curiosity. ‘Calm Winds Carry he Breath of Birds’ sees the trio at their most pastoral, with samples of bird song intertwining with call and response alto saxophone and flute, jousting around Nichol’s martial drumming. He and Kelly eventually pair off in a Kabuki theatre inspired duo, her flute flowering Shakuhachi tones in an Orient inspired flight of melody anchored by shamanic drums and crystalline synth pads. It marks one of many instances of telepathic interplay from the pair, full of a richness of space and drama that colours the entire record. ‘Islands of Opium’ furthers the two’s theatrical exchanges before Pascal detonates into a skittering percussive solo, playing almost an anti-time signature yet somehow managing to keep a feeling of propulsion against waves of hazed out synths and ghostly flute tones.
The 20minute epic ‘Saudade For Rain Tunnels’ that bookends the album is a perfect summation of the trios heady investigative work. Beginning with ominous gong chimes and fluttering flute, a stomping corrupted dub beat rises with a drenched sample of rain fall that acts as the foundation for more morose interplay between tenor sax and flute and the occasional mangled free jazz explosion of drum and sax. The near Celtic melancholy that emits from McLean’s sax brings round a circularity to albums end and echoes the breathy, sullen passages of opener ‘Raw Healing’ but in more extended form."
Boomkat Product Review:
**Fathomless improvisation by Tombed Visions bossman David McLean, together with Pascal Nichols and Kelly Jayne Jones ov Part Wild Horses Mane On Both Sides. Over one hour of free-jazz, crushing metal, electronic drones and wigged-out psychedelia from endlessly inventive players. C63 tape housed in oversized case with pro-printed J-card. Edition of 35 includes instant download dropped in your account**
"Pascal Nichols and David McLean reactivate their Cornered Yet Climbing duo, returning to record ‘Fevered Relaties’ with the crucial inclusion of Kelly Jayne Jones, Nichol’s long term collaborator in Part Wild Horses Mane On Both Sides. What results is a more cohesive and refined collection of improvisations which, whilst touching on a similar array of sonic sources exhibited on their debut ‘Reclaiming Fire’, is detectably more focused in mood and temperament. There is a ritualistic quality to each of the 5 pieces that make up the record, melding digital processing with acoustic sources and drenched in a sheen of chambered reverb that at times sounds liturgical.
‘Raw Healing’ erupts with scuzzed out synths and blasts of intermittent percussion, Nichols setting entirely his own rhythm. The angularity of the beginning softens into a slow burning exchange of forlorn, dreary saxophone from McLean and a steady, funereal pace from Nichols which Jone’s flute dances between. The opiate fog of this march is routinely shattered by blurts of screaming Tenor Sax and bombastic percussion and Jones dials in otherworldly samples. What’s left of a song is gutted into seas of static glitch and textural explorations that pan round listeners ears, creaking and snapping with brutal clarity against a sheet of silence. ‘Two Holed Experiment’ follows as one of the most unique takes on the record, a mixture of sandblasted tones and pounding bass drum exhaling into one another, having more in common with Sandwell District and Emptyset at their most crepuscular than any improv curiosity. ‘Calm Winds Carry he Breath of Birds’ sees the trio at their most pastoral, with samples of bird song intertwining with call and response alto saxophone and flute, jousting around Nichol’s martial drumming. He and Kelly eventually pair off in a Kabuki theatre inspired duo, her flute flowering Shakuhachi tones in an Orient inspired flight of melody anchored by shamanic drums and crystalline synth pads. It marks one of many instances of telepathic interplay from the pair, full of a richness of space and drama that colours the entire record. ‘Islands of Opium’ furthers the two’s theatrical exchanges before Pascal detonates into a skittering percussive solo, playing almost an anti-time signature yet somehow managing to keep a feeling of propulsion against waves of hazed out synths and ghostly flute tones.
The 20minute epic ‘Saudade For Rain Tunnels’ that bookends the album is a perfect summation of the trios heady investigative work. Beginning with ominous gong chimes and fluttering flute, a stomping corrupted dub beat rises with a drenched sample of rain fall that acts as the foundation for more morose interplay between tenor sax and flute and the occasional mangled free jazz explosion of drum and sax. The near Celtic melancholy that emits from McLean’s sax brings round a circularity to albums end and echoes the breathy, sullen passages of opener ‘Raw Healing’ but in more extended form."
Boomkat Product Review:
**Fathomless improvisation by Tombed Visions bossman David McLean, together with Pascal Nichols and Kelly Jayne Jones ov Part Wild Horses Mane On Both Sides. Over one hour of free-jazz, crushing metal, electronic drones and wigged-out psychedelia from endlessly inventive players. C63 tape housed in oversized case with pro-printed J-card. Edition of 35 includes instant download dropped in your account**
"Pascal Nichols and David McLean reactivate their Cornered Yet Climbing duo, returning to record ‘Fevered Relaties’ with the crucial inclusion of Kelly Jayne Jones, Nichol’s long term collaborator in Part Wild Horses Mane On Both Sides. What results is a more cohesive and refined collection of improvisations which, whilst touching on a similar array of sonic sources exhibited on their debut ‘Reclaiming Fire’, is detectably more focused in mood and temperament. There is a ritualistic quality to each of the 5 pieces that make up the record, melding digital processing with acoustic sources and drenched in a sheen of chambered reverb that at times sounds liturgical.
‘Raw Healing’ erupts with scuzzed out synths and blasts of intermittent percussion, Nichols setting entirely his own rhythm. The angularity of the beginning softens into a slow burning exchange of forlorn, dreary saxophone from McLean and a steady, funereal pace from Nichols which Jone’s flute dances between. The opiate fog of this march is routinely shattered by blurts of screaming Tenor Sax and bombastic percussion and Jones dials in otherworldly samples. What’s left of a song is gutted into seas of static glitch and textural explorations that pan round listeners ears, creaking and snapping with brutal clarity against a sheet of silence. ‘Two Holed Experiment’ follows as one of the most unique takes on the record, a mixture of sandblasted tones and pounding bass drum exhaling into one another, having more in common with Sandwell District and Emptyset at their most crepuscular than any improv curiosity. ‘Calm Winds Carry he Breath of Birds’ sees the trio at their most pastoral, with samples of bird song intertwining with call and response alto saxophone and flute, jousting around Nichol’s martial drumming. He and Kelly eventually pair off in a Kabuki theatre inspired duo, her flute flowering Shakuhachi tones in an Orient inspired flight of melody anchored by shamanic drums and crystalline synth pads. It marks one of many instances of telepathic interplay from the pair, full of a richness of space and drama that colours the entire record. ‘Islands of Opium’ furthers the two’s theatrical exchanges before Pascal detonates into a skittering percussive solo, playing almost an anti-time signature yet somehow managing to keep a feeling of propulsion against waves of hazed out synths and ghostly flute tones.
The 20minute epic ‘Saudade For Rain Tunnels’ that bookends the album is a perfect summation of the trios heady investigative work. Beginning with ominous gong chimes and fluttering flute, a stomping corrupted dub beat rises with a drenched sample of rain fall that acts as the foundation for more morose interplay between tenor sax and flute and the occasional mangled free jazz explosion of drum and sax. The near Celtic melancholy that emits from McLean’s sax brings round a circularity to albums end and echoes the breathy, sullen passages of opener ‘Raw Healing’ but in more extended form."
Housed in a double sized case. Prison Clear shell, includes 2 panel inlay printed on 300gsm recycled paper.
Out of Stock
Boomkat Product Review:
**Fathomless improvisation by Tombed Visions bossman David McLean, together with Pascal Nichols and Kelly Jayne Jones ov Part Wild Horses Mane On Both Sides. Over one hour of free-jazz, crushing metal, electronic drones and wigged-out psychedelia from endlessly inventive players. C63 tape housed in oversized case with pro-printed J-card. Edition of 35 includes instant download dropped in your account**
"Pascal Nichols and David McLean reactivate their Cornered Yet Climbing duo, returning to record ‘Fevered Relaties’ with the crucial inclusion of Kelly Jayne Jones, Nichol’s long term collaborator in Part Wild Horses Mane On Both Sides. What results is a more cohesive and refined collection of improvisations which, whilst touching on a similar array of sonic sources exhibited on their debut ‘Reclaiming Fire’, is detectably more focused in mood and temperament. There is a ritualistic quality to each of the 5 pieces that make up the record, melding digital processing with acoustic sources and drenched in a sheen of chambered reverb that at times sounds liturgical.
‘Raw Healing’ erupts with scuzzed out synths and blasts of intermittent percussion, Nichols setting entirely his own rhythm. The angularity of the beginning softens into a slow burning exchange of forlorn, dreary saxophone from McLean and a steady, funereal pace from Nichols which Jone’s flute dances between. The opiate fog of this march is routinely shattered by blurts of screaming Tenor Sax and bombastic percussion and Jones dials in otherworldly samples. What’s left of a song is gutted into seas of static glitch and textural explorations that pan round listeners ears, creaking and snapping with brutal clarity against a sheet of silence. ‘Two Holed Experiment’ follows as one of the most unique takes on the record, a mixture of sandblasted tones and pounding bass drum exhaling into one another, having more in common with Sandwell District and Emptyset at their most crepuscular than any improv curiosity. ‘Calm Winds Carry he Breath of Birds’ sees the trio at their most pastoral, with samples of bird song intertwining with call and response alto saxophone and flute, jousting around Nichol’s martial drumming. He and Kelly eventually pair off in a Kabuki theatre inspired duo, her flute flowering Shakuhachi tones in an Orient inspired flight of melody anchored by shamanic drums and crystalline synth pads. It marks one of many instances of telepathic interplay from the pair, full of a richness of space and drama that colours the entire record. ‘Islands of Opium’ furthers the two’s theatrical exchanges before Pascal detonates into a skittering percussive solo, playing almost an anti-time signature yet somehow managing to keep a feeling of propulsion against waves of hazed out synths and ghostly flute tones.
The 20minute epic ‘Saudade For Rain Tunnels’ that bookends the album is a perfect summation of the trios heady investigative work. Beginning with ominous gong chimes and fluttering flute, a stomping corrupted dub beat rises with a drenched sample of rain fall that acts as the foundation for more morose interplay between tenor sax and flute and the occasional mangled free jazz explosion of drum and sax. The near Celtic melancholy that emits from McLean’s sax brings round a circularity to albums end and echoes the breathy, sullen passages of opener ‘Raw Healing’ but in more extended form."
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