This is a succinct statement by a duo of systematic analysts of the harmonic properties of resonant air (Denley’s alto sax) in conjunction with an expert manipulation of a mixer (Blamey). How many releases such as this one have already been discussed since, say, 2000? Hundreds? Well, Blamey and Denley managed to find different escapes from a canon that usually welcomes few inventors and dozens of imitators. In this instance, the couple looks mostly interested in the harder core of the matter, Denley insufflating with a good degree of violence so that even a normal wheeze tastes like rusty metal. When he adds doses of massive overtone emissions to the recipe, that’s the signal for Blamey to augment the visibility of his sibilant textures in a murmured rebellion to silence, corroborated by minuscule plops and almost inaudible gurgles in a strange kind of reed-ish radioactivity. The result is excellent, 34 minutes of burbling currents, shrieking upper partials and disguised counter-patterns appearing in the form of a violent hail storm or, in other occasions, more similar to a malfunctioning steam locomotive running at speeds that no regular vehicle can usually reach. It remains to be seen how this compact unity of intents will stand the test of time in this congested sonic field; still, on a deep listening basis, “Findings” reveals a number of unexpected gradations that separate it from the average, precisely delimited intuitions presented with rational balance. Not all improvisers are endowed with that.


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