John Coxon, Evan Parker, Eddie Prévost

Cinema

" . . . everything here is circular. While the musicians are often playing continuously they only enter the foreground at distinct and isolated moments, as if circling through patterns in which they sometimes move into temporal zones indicating high volume. That sense of a score (or scroll or star map) is strong here. Parker employs circular breathing, initially for brief passages, later at greater length, reiterating short scalar phrases. The phrases are varied, first incrementally and then expansively, multiplying through overtones. There’s a sense that certain sounds – the tenor phrases, a particularly abrasive cymbal scrape – are being looped, entering at irregular intervals, sometimes triggered by one another, creating a sense of ongoing structure that’s further magnified by Coxon’s drones, occasional squiggly guitar figures and subtle references to blues. It’s subtle, continuous work." - Stuart Broomer, Point of Departure

"Something is going on here but we do not really know what. Coxon, who is a very unusual guitarist, can make his instrument sound like a toy clock or the zither in 'The Third Man', together with Parker’s elaborate sax techniques and Prévost’s almost unbearable high-pitched bowed sounds these sound splinters create an uncomfortable world, as if a man was on the run, afraid of something horrible." - Martin Schray, Free Jazz