When I discover a record I really like by an artist with a few releases under their belt, it’s tempting to go back and binge on their back-catalogue. I normally try to resist, having found that it mostly leads to disappointment, and often dilution of the pleasure of the music that kicked the whole thing off. So, despite having loved Christina Vantzou’s No. 4 recently, I resisted the urge to go back and hoover up Nos. 1 through 3.
But I did check out this recent live performance by Vantzou and John Also Bennett (who also played on No. 4) and, you know what, it’s really good, too. It’s a very different record. No. 4 had an impressive list of collaborators and instruments. This is just the two of them with synths, ‘virtual instruments’ (CV), more synths, flute, and piano (JAB). No. 4 has a rich, layered strangeness. This has a sparse, abstract strangeness. It was performed in a gallery, as a response to works by Zin Taylor, or perhaps we’re meant to say as a reconceptualization of those works, or something like that… anyway, it does seem to fit the abstract simplicity of the drawings, and comes with a nice 1.8m-long leporello which you can, I don’t know, look at while you listen to the music, I guess. The music itself is proceeds at a stately pace, and it’s more about the textures and the shapes than about the melodies, but it’s full of lovely little surprises — I love the sound of lapping water which appears somewhere near the end, for example — and it’s thoroughly immersive. In places, it reminds me of another recent live duet, Alva Noto and Ryuichi Sakamoto’s Glass — or, reaching further back, Robert Aiki Aubrey Lowe and Ariel Kalma’s We Know Each Other Somehow. It’s one of those records that I love a little bit more each time I listen to it, and lingers in my memory for a good while afterwards, and those are very good things.
I bought this from the label’s bandcamp page.