Real Real World
Will Guthrie & James Rushford
Real Real World
Boomkat Product Review:
Head-melting percussion abstractions that occupy a curious space between free improv and experimental electronics. Like Autechre and Mark Fell jamming with the Flower/Corsano duo. So good.
Drummer Will Guthrie and keyboardist James Rushford join forces here for a spontaneous studio session that took place in Nantes, where Guthrie is currently situated. With Rushford wielding a detuned pipe organ and Guthrie complimenting his wheezing dissonant drones with gongs, bells and cymbals, it doesn't take more than a minute or so to fully materialize in the Aussie duo's (real real) world. They balance on a precarious precipice, treading carefully between free improv ideas and the meticulous rhythmic minimalism that we last heard on Mark Fell's recent Guthrie collaborations.
But this is uneasy, organic material and situates itself far from the ice-cold rattle of the post-IDM set. It's not exactly jazz, but Guthrie and Rushford's distinctly spiritual back-and-forth reminds of Alice Coltrane and Pharoah Sanders at times, as if the duo are ruminating on duration, tonality and the nature of rhythm. As the album progresses into deeper, darker territory, we're treated to sax from Melbourne's Scott McConnachie, who throws horn screams over Guthrie's manic polyrhythms and Rushford's organ doom on 'Slakes'.
Ending on the gloomy, evocative 'Blue-eyed Boy', the album almost sounds like a Bohren und der Club of Gore record screwed and chopped within an inch of its life and doused in hot tar. Just the way we like it, then.
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Boomkat Product Review:
Head-melting percussion abstractions that occupy a curious space between free improv and experimental electronics. Like Autechre and Mark Fell jamming with the Flower/Corsano duo. So good.
Drummer Will Guthrie and keyboardist James Rushford join forces here for a spontaneous studio session that took place in Nantes, where Guthrie is currently situated. With Rushford wielding a detuned pipe organ and Guthrie complimenting his wheezing dissonant drones with gongs, bells and cymbals, it doesn't take more than a minute or so to fully materialize in the Aussie duo's (real real) world. They balance on a precarious precipice, treading carefully between free improv ideas and the meticulous rhythmic minimalism that we last heard on Mark Fell's recent Guthrie collaborations.
But this is uneasy, organic material and situates itself far from the ice-cold rattle of the post-IDM set. It's not exactly jazz, but Guthrie and Rushford's distinctly spiritual back-and-forth reminds of Alice Coltrane and Pharoah Sanders at times, as if the duo are ruminating on duration, tonality and the nature of rhythm. As the album progresses into deeper, darker territory, we're treated to sax from Melbourne's Scott McConnachie, who throws horn screams over Guthrie's manic polyrhythms and Rushford's organ doom on 'Slakes'.
Ending on the gloomy, evocative 'Blue-eyed Boy', the album almost sounds like a Bohren und der Club of Gore record screwed and chopped within an inch of its life and doused in hot tar. Just the way we like it, then.
Boomkat Product Review:
Head-melting percussion abstractions that occupy a curious space between free improv and experimental electronics. Like Autechre and Mark Fell jamming with the Flower/Corsano duo. So good.
Drummer Will Guthrie and keyboardist James Rushford join forces here for a spontaneous studio session that took place in Nantes, where Guthrie is currently situated. With Rushford wielding a detuned pipe organ and Guthrie complimenting his wheezing dissonant drones with gongs, bells and cymbals, it doesn't take more than a minute or so to fully materialize in the Aussie duo's (real real) world. They balance on a precarious precipice, treading carefully between free improv ideas and the meticulous rhythmic minimalism that we last heard on Mark Fell's recent Guthrie collaborations.
But this is uneasy, organic material and situates itself far from the ice-cold rattle of the post-IDM set. It's not exactly jazz, but Guthrie and Rushford's distinctly spiritual back-and-forth reminds of Alice Coltrane and Pharoah Sanders at times, as if the duo are ruminating on duration, tonality and the nature of rhythm. As the album progresses into deeper, darker territory, we're treated to sax from Melbourne's Scott McConnachie, who throws horn screams over Guthrie's manic polyrhythms and Rushford's organ doom on 'Slakes'.
Ending on the gloomy, evocative 'Blue-eyed Boy', the album almost sounds like a Bohren und der Club of Gore record screwed and chopped within an inch of its life and doused in hot tar. Just the way we like it, then.
Boomkat Product Review:
Head-melting percussion abstractions that occupy a curious space between free improv and experimental electronics. Like Autechre and Mark Fell jamming with the Flower/Corsano duo. So good.
Drummer Will Guthrie and keyboardist James Rushford join forces here for a spontaneous studio session that took place in Nantes, where Guthrie is currently situated. With Rushford wielding a detuned pipe organ and Guthrie complimenting his wheezing dissonant drones with gongs, bells and cymbals, it doesn't take more than a minute or so to fully materialize in the Aussie duo's (real real) world. They balance on a precarious precipice, treading carefully between free improv ideas and the meticulous rhythmic minimalism that we last heard on Mark Fell's recent Guthrie collaborations.
But this is uneasy, organic material and situates itself far from the ice-cold rattle of the post-IDM set. It's not exactly jazz, but Guthrie and Rushford's distinctly spiritual back-and-forth reminds of Alice Coltrane and Pharoah Sanders at times, as if the duo are ruminating on duration, tonality and the nature of rhythm. As the album progresses into deeper, darker territory, we're treated to sax from Melbourne's Scott McConnachie, who throws horn screams over Guthrie's manic polyrhythms and Rushford's organ doom on 'Slakes'.
Ending on the gloomy, evocative 'Blue-eyed Boy', the album almost sounds like a Bohren und der Club of Gore record screwed and chopped within an inch of its life and doused in hot tar. Just the way we like it, then.
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Boomkat Product Review:
Head-melting percussion abstractions that occupy a curious space between free improv and experimental electronics. Like Autechre and Mark Fell jamming with the Flower/Corsano duo. So good.
Drummer Will Guthrie and keyboardist James Rushford join forces here for a spontaneous studio session that took place in Nantes, where Guthrie is currently situated. With Rushford wielding a detuned pipe organ and Guthrie complimenting his wheezing dissonant drones with gongs, bells and cymbals, it doesn't take more than a minute or so to fully materialize in the Aussie duo's (real real) world. They balance on a precarious precipice, treading carefully between free improv ideas and the meticulous rhythmic minimalism that we last heard on Mark Fell's recent Guthrie collaborations.
But this is uneasy, organic material and situates itself far from the ice-cold rattle of the post-IDM set. It's not exactly jazz, but Guthrie and Rushford's distinctly spiritual back-and-forth reminds of Alice Coltrane and Pharoah Sanders at times, as if the duo are ruminating on duration, tonality and the nature of rhythm. As the album progresses into deeper, darker territory, we're treated to sax from Melbourne's Scott McConnachie, who throws horn screams over Guthrie's manic polyrhythms and Rushford's organ doom on 'Slakes'.
Ending on the gloomy, evocative 'Blue-eyed Boy', the album almost sounds like a Bohren und der Club of Gore record screwed and chopped within an inch of its life and doused in hot tar. Just the way we like it, then.
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