splitrec 24 LP CD DL
John Shand writes in the Sydney Morning Herald
…these two improvised duets represent the art of spatial relationships, atmospherics and suspense. Nonetheless part of that suspense is derived from the sheer surprise factor of the sounds that unfold, sometimes even stretching to the delight of wondering on which instrument they were made!’.
Richard Pinnell in Wire says
“Never rushed, yet sustaining a feeling of confidence and comfort in their materials, Denley and Fuhler produce two sides of music here that at once cradle listeners in its comforting beauty while keeping them moving through ever changing scenery.”
Brian Olewnick writing in Just Outside says
“…The music never gets frenetic, more going from medium to a nice, grainy, rough-edged, slow flow, the latter always full and grimy, with that wonderful sense of air circulating around the sounds.
An excellent recording, don’t miss it.”
Massimo Ricci writes in Touching Extremes,
…my own positiveness for Truancy is a fact: deceivingly intelligible, it hides small doses of venom – of the sort that we at Touching Extremes love to savor.”
Joseph Cummings writing in the Music Trust says,
“Five minutes into the first track Skive we hear a moment of radio, perhaps a song by the pop band Coldplay. Later we hear an advertisement. These sound bites lend a kind of mobility to the soundscape that, working in combination with the spectral range evoked by both players, gives the impression of satillites picking up transmissions from technologies as prosaic and domestic as radios, right through to the sound-waves broadcast by the earth-as-sound-machine. I can imagine more than just human ears appreciating the wide spectrum of sound on Truancy.”
The imaginative preparations and inventions they use mean that listeners will find it hard to believe they are playing saxophone and piano, and at times, be unable to distinguish between the two. They don’t accept cliche?s about instrumental notions and fashionable schools (new and old).
But Truancy isn’t just about opting out, rather, time away from institutions has been devoted to generating new sounds and structures.
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