Incisions by Black Cracker – The already music shuffling from immanence to silence and back again.

Ok – colour me Peach!  I’m excited about this music offering today.

This hot little disc that I will wax lyrical about in just a few lines time, is the frist release on the enthusiastically titled It’ll Be Awesome label recently launched in Sydney Australia!  My home town.

What is even more exciting about Incisions is that it’s a great CD.  A very limited edition has been produced, so despite the fact that you will hear it here, grab yourself a copy at It’ll be Awesome and get in addition a series of MP3 downloads for your listening pleasure.

Incisions is by a due who go by the moniker Black Cracker. Black Cracker are Rishin Singh (Trombone) and Jon Watts (Mixer).  Have a listen:

01 Track 01 7

The world we live in is structured by language.  Many writers are acutely aware of this and certainly the great ones are. Language predicates and structures the world, such as we are in a position to apprehend, comprehend, or know it. Movement in the world of music is shifting the nature of music expression and comprehension toward language more than it has ever done before. The apprehension behind this shift is crucial.  Its the stuff great art is made of.  And certainly the music that is being made in response to the question of language is some of the most exciting art being made today.

This is where this beautiful little disc fits in . Incisions is one track only, but it is a mighty track, obsessed with its own subtlety and its devotion to the unraveling the nature of our comprehension around its two primary instruments – can one argue that musicians of this calibre are instruments themselves?  I think so.  Singh and Watts bring devotion and well practised hands to their instruments in this piece but more even is the desire to break open the language formation of what music is and how art is formed – that is the standing on the shoulders, arms, legs and bellies of great artists before us and great artists around us.

As you can tell from your own listening, the disc starts slow. It will build dramatically toward the end, the tap of that mixer holding our hand all the way like a support for the heartbeat.  The Trombone is transformed into a creature it didn’t know itself to be – as we all will be at certain points in our life. The disc blurb on the website has this to say: “Incisions is a deep interrogation into the possibilities of electro-acoustic music, successfully melting away the individual sounds of the trombone and mixer into an unfaltering singularity”. The trombone is only recognisable by what it isn’t at certain places. If you like, this is a morphing of music and an aural poetics, where the Mixer holds the weight of all that music contains and the Trombone launches poet-like into the stratosphere leaving behind its very awareness of itself.

Towards the end we will be brought back to where we started with that faint heart beat of a pitter patter toward the end, lulled into a kind of safety and tricked by our own training of how to listen to the music. We are so tricked we can almost recognise the Trombone in its sounds here, its own striving toward the sound, efforts to make itself into the thing it needs to be. With a slow build up, the passion of the trombones efforts towards realisation the mixer will jump in with the support, lifting the trombone and holding it in a new place. Finally the two machines, now melded, separate but one, triumphantly cry their tumult as for brief moments we can’t tell the difference between a trombone and a Mixer.

And that is, above all else, the point. Isnt it?

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