JAZZWORD reviews OUTERMISSION

OUTERMISSION FRONTCOVER

“Opposites attract. At least that’s the message that’s reflected in this stripped down guitar-drums session. The duo of Belgian guitarist Dirk Serries plus Brit-in-Amsterdam drummer George Hadow has come up with an archetypal CD which fully synthesize the power of light and dark timbres. Like examining a wall-sized canvas of an 18th century Arcadian scene where crucial scene-setting can be glimpsed in the darkened edges of the painting as well as the luminescent action in the foreground, the duo is singular in detailing improvisations at many pitches and speeds.

Similar sonic alchemy is evident on “Outermisssion”, but with 11 tracks compressed into 37 minutes – Hundred Beginnings is 71 minutes long – conciseness is another characteristic. With drummer Harrow, who in the past has worked with the likes of John Dikeman and Wilbert de Joode on board, Serries whose output runs from Hardf Rock sessions to partnership with Scandinavian ambient duo Yodok, appears to have achieved attained the goal of playing like Jimmy Page and Derek Bailey in subsequent nanoseconds. In truth like the hell-raiser buried in a conventional citizen’s past, even the Metal emulations are muted. Prime instance of this is “Apart”, where Serries’ speedy, knife-sharp and wah-wah pedal-pushed expansions are seconded by Hadow’s juicy drum pops. Still this tune and the following “Leeg”, include unexpected atonal trails from the guitarist that relate more definitely to Free Music experimentation. Chameleon-like however by “Slate”, the following tune the drummer’s scratch-shuffle beat and disconnected tone emphasis from Serries could easily be slipped into any Company disc with little disruption. These same characteristics slip into the following “Open” to confirm that silence saturated creations, based in this case on bass note reverb and foreshortened rim shots, can express emotions with nuance rather than bombast. “Out”, the longest and most minimalist track is dominated by wooden clicks, air resonations, crackles and cracks that could come from either instrument.

Serries and Hadow realize that a muted finale is as prominent by inference as a noisy one. They prove this on the final “Remission” where guitar string jangling and intermittent drum beats add up to a crescendo of quiet tones that define their mastery.” Jazzwise – Canada

 

 

Advertisements