(For 4 Ears)
The “quiet tension” which Günter Müller refers to in the press notes of Till We Meet Again is evidenced in a vast part of this profound series of duo and solo recordings. Akiyama’s personal take on a peculiar sort of atonal blues goes through ample silent spaces interrupted by the sound of acoustic guitar strings that are loosened, scratched and pinched until there is no more trace of a conventional – “western”, if you will – playing style. Kahn mostly applies his caressing delicacy to responsive cymbals, bringing out the essential harmonic resonance we had already experienced in his interpretations of Taku Sugimoto’s scores in Music For Cymbal on his own Cut label. Kahn also presents a long track for analogue synthesizer which fits extremely well in a sound world made of healing waves not extraneous to composers like Eliane Radigue or Alvin Lucier. A nice touch comes from being able to detect the musicians’ breath at times while they play, thanks to a beautifully detailed recording which also captured the engrossing faraway sound of a passing helicopter in the last section of the disc.