[Reviewed by: Iaha Crax]
Idiosyncratics label gathered these two projects to perform, under the auspices of a chance meeting, a “Trance-inducing percussion masterpiece!” (label quote). In fact, this is the third collaboration between the HATI drummers’ duo and the experimental percussionist ZE’V. This limited edition recording contains five untitled songs, constructed seemingly solely by drumming and percussion instruments, along with bells and some shakers. It seems that all technique sustains a pure hazardous process, dictated by the deep interconnection established between the performers. The first song is nothing but a researched endeavor to force air vibrations by means of metal instruments. This is how the atmosphere around becomes alive and speaks to us in an innocent, mysterious language. You could, very well intentioned, appropriate the musical effects to the acoustic rituals of integration, as imagined by Halo Manash or other similar projects.
More tribal movements are condensed on the second track, which brings on the scene the frenzy of possessed dancers. Movement and prayer are but one consolidated effort to invoke and reconstruct, on musical structures, hidden spiritual forces. You ought to hear these frenetic tunes of ophidian practices merely for their unnatural resonance into the psyche. What happens next, whether you instinctively rise up from your comfort and challenge your body to this witching dance mania, is a matter of ego. With the third track they slow down the previous maddening and try to find repose and perhaps solace in freeform frets or knockings. I feel like listening to junk-noise adapted to exclusively percussive instrumentation…
In one of his books, Emil Cioran said that music is time made sound. In the fifth track, not only you are able to actually imagine how time organically moves beside you, but you also to approach the strange feeling that time is becoming the space surrounding you. The increasing accumulation of oscillating clockwork sounds moves menacingly towards an ending you never expected, but knew it has always been there. You are exactly like the narrator from Poe’s ‘The Pit and the Pendulum’, caught in inescapable fear and impotency.
The album closes in another original track. The more surprising as in the beginning these ranges of instrumentation seemed to offer scant complexity. Here some wind instruments are joining inspiration with drums and cymbals, picturing a pastoral landscape of a remote nature. Folk magic, monasticism and spiritual errance are blended together in a narcotic improvised musical session.
Less than forty minutes of archaic sound architectures and space refuses to be still, reshaping itself in other subconscious forms even after the record’s listening time ends. A collusion over the space/ time delusion in which anyone can take part and come out gratified.