“We must hope that the duo repeat their winning formula
again soon. This stuff could very easily become habit-
forming.”
John Eyles All About Jazz (4.5 stars out of 5)
'This is a beguiling album, rich in emotional inflexions.
Its mimetic melancholy is offset both by the immediacy of
the
performance and its poetry. It is really quite beautiful.'
Tim Owen Dalston Sound
“a prime example of pure creativity.”
The Musician (album was stand out for the issue)
“It's the science of snow, its rarely recurring forms, its
logic-defying crystal building and eventual sublimation that
this music attempts to convey
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“We must hope that the duo repeat their winning formula
again soon. This stuff could very easily become habit-
forming.”
John Eyles All About Jazz (4.5 stars out of 5)
'This is a beguiling album, rich in emotional inflexions.
Its mimetic melancholy is offset both by the immediacy of
the
performance and its poetry. It is really quite beautiful.'
Tim Owen Dalston Sound
“a prime example of pure creativity.”
The Musician (album was stand out for the issue)
“It's the science of snow, its rarely recurring forms, its
logic-defying crystal building and eventual sublimation that
this music attempts to convey. This stuff comes from a
border country and a border state.”
Brian Morton The Wire
If ever a visual artist and technically astounding
guitarist were to collide it would be here. Intense, fragile
this could stop anybody in their tracks.
Sheffield Telegraph
Dark like a starless night, beautifully poetic, delicate,
haunting, seductive. Compellingly unique and not to be
missed. Jazz Alchemist (Fourth Page)
thank heavens there's music like this which puts your head
back where it should be....Truly beautiful Fiona Talkington
Late Junction Radio 3
The quartet's crucial element is Beresford's voice, and
that point is made eloquently on the album's twelve-minute
opener, Summon you to me. For its first half, it is an
improvised piece consisting of sparse atmospheric phrases
from bowed guitar, piano, bass and drums punctuated by
plenty of space. The four are accomplished improvisers, so
their phrases combine together effectively into an engaging
and enthralling improvisation which could have happily
continued for the full length of the track. But, after five-
and-a-half minutes, Beresford's voice enters and the focus
of the piece shifts dramatically. The music continues much
as before but now it seems to accompany the voice; the
effect is like one of those optical illusions in which the
same thing is seen instantaneously in a different way—here,
the entry of the vocals alters the way the music is heard.
(Fourth Page) John Eyles All About Jazz (4.5 stars out of 5)
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