By Hrayr Attarian
The provocative Temple of Muses is a collaborative effort among four
master improvisers who also share an artistic vision. Norwegian guitarist
Stian Larsen joins two of his past collaborators, Englishmen Andrew Lisle on
drums and Colin Webster on saxophone, for this session. Italian-English
bassist Ruth Goller is new to the group, yet she is completely in sync with
the others. Consisting of six fiery pieces, the album is equal parts raw
emotion and intelligent, intricate harmonic constructs.
The explosive intro “Haunts of Crows”, clocking only a bit over two minutes,
sets the mood for the recording. Lisle’s thunderous polyrhythms mix with
Goller’s muscular bass lines, creating a riotous cadence. Webster wails
with abandon, coaxing out of his horn agile and angular phrases while
Norwegian guitarist Stian Larson contributes blistering chords to the group
conversation. The performance reaches a climax just before it concludes with
a rapid and elegant decrescendo.
Elsewhere, “Vivid Aspects” is contemplative with Lisle’s rustling
percussion, Goller’s expectant reverberations, and Larsen’s tolling strings
creating a haunting ambience. Webster punctuates the music with soft pops
and fluttering notes. The collective improvisation is simultaneously
captivating with its cinematic soundscapes and angst-producing with the
undercurrent of dark tones. As with the rest of the pieces, the quarter
here functions as a single unit, yet one that does not sacrifice the
individual voices of its members. The tune ends with a furious expression
of hope.
The title track in length and breadth forms the core of this stimulating
release. Opening with sparse drum beats and resonant basslines, it evolves
into a dramatic repartee. Larsen enters with a pensive, introspective melody
while Webster blows with languid melancholy. Slowly, the ensemble refrains
pick up in tempo, becoming more crystalline and complex without abandoning
the use of silent pauses entirely. Passionate and cerebral, the music brims
with a primal spirituality. Here, yet again, the musicians demonstrate
sublime camaraderie in a setting brimming with spontaneity and delightful
dissonance.
Calling the Temple of Muses gripping is an understatement. The
ensemble deftly demonstrates the power and beauty of extemporized music. It
is a taut and thrilling work that satisfies and moves from the first note to
the last.