By Fotis Nikolakopoulos
Almost three years ago, when reviewing the duo’s (@xcrswx is Crystabel
Efemena Riley on human and drum skin with Seymour Wright on saxophone) 10’’ side, a spit 10’’ with Inga Copeland aka Lolina at the time, I was finding
it very hard – even impossible as I commented – to rightfully describe the
music. But that wasn’t an issue back then, it isn’t an issue now and,
certainly, it mustn’t be an issue. Never.
On their first 12’’ album, again on the small, eclectic Feedback Moves, the
duo goes on to continue exploring new, or maybe abandoned?, sonic
territories. The sax and drums duo is the core, the basis one could comment
but, or and, a point of departure as well. On MOODBOARD they use technology
(be it analogue or digital) so that they can expand their sound towards any
direction possible.
There is no way to differentiate when their sound is absolutely live, played
at the moment (as easy this task can be with recorded audio) and when they
have manipulated what you are listening. What @xcrswx seems to be achieving
right now is a combination, a unification of the actual improvisational
ethos of impromptu music, with the control over the finalized result that
technology can achieve.
MOODBOARD has indeed a lot of ideas coming out from a 2023 residency in
Brussels but those are just a part of the process. A process that
incorporates the struggle of redefining the material, changing or shaping
it, while playing live and adding the playing live ethos of improvisation
–maybe of playing music in general.
I must be frank and honest that MOODBOARD is and certainly will be one of
the most interesting and intriguing albums for 2026. I must listen to it so
many more times in order to decide, if there’s such a need…, what exactly
goes on there, how “good” it is and which of my mind’s small boxes are
ticking when listening to it.
Listen for yourself:
@koultouranafigo