A
golden improvisation for theremin & live electronics, guitar,
and drums.
A fascinating continuous 48minute improvisation
in the studio. From spacey ambient soundscapes, to free jazz with
marvelous interplay, minimal organ sections, ECM jazz and all stations
in between.
Chris
Conway
paints pictures with his theremin, and with the help of mountains
of delays and effects he moves from wild screams to subtle chordal
soundscapes which blend with his low Irish whsilte and vocal effects
to produce a rich deep layered sound. He has worked with a strangely
diverse set of musicians including Talvin Singh, Peter Tork (Monkees),
improviser Derek Bailey, Martin Barre (Jethro Tull), composer Gavin
Bryars, violin masetro Dr L Subramanium, ECM saxman Martin Speake,
and Brazilain jazz diva Ithamara Koorax.
Simon
Styring's
guitar style comes out of Robert Fripp, blending his sustainiac-loaded
guitar with guitar synthesizer and effects in intriguing ways. From
sustained Frippatronics to splintered Metheny-like free jazz guitar.
John Runcie is a superbly impressionistic
jazz drummer in the mould of ECM label regular Jon Christensen.
He has worked with Lee Konitz, John Surman and Barbara Thompson
to name a few. His restless creativity abounds, and his subtlety
is evident, interacting one minute, and driving the band the next.
Together
they create so many sound combinations as they veer from space sounds
to ambient electronica, free jazz to minimal patterns. Out on the
edge - not always tonal but with atonality on the brink of breaking
out. And vice versa…
influences
Terje Rypdal, Robert Rich, Terry Riley, Simon Stockhausen, Barbara
Buchholz, Robert Fripp, Jon Christensen
technical
recorded
digitally at Quad Studios, mixed at Oblong Studios, leicester, UK.
CC's
fave track
Space
Time 7
background
Space
Time is Continuum's 4th album, recorded at the same session as their
Yttrium album. The music was a continuous 48minute improvisation
and the band decided they wanted to keep it in it's entirety.
It threads organically from a mellow ambient openeing, to some free
jazz, before going into a Terry Riley-esque minimal organ section,
before settling down to a spacey ambeint section. Out of this, like
the sun rising, there is a piano ECM styled atmospheric ending which
grows to a dramatic climax before a stunning exit as strange spacey
sound arrive again at the close.
This was such an organic piece with fascinating trasitions between
the sections it was great to release it on it's own right - a real
tribute to Continuum's inventiveness and level of interplay.
