By Gary Chapin
Martin Archer’s confluence of avant, prog, improv, electronics, krautrock,
and big band is one of my favorite ongoing projects in the field, and my joy
at this release is matched only by my being bummed out by the fact that this
is the last recording the band will be putting out. The enterprise has come
to a close. Theta Seven serves well as a valedictory effort — a capstone.
Here’s the personnel:
- Martin Archer – woodwind, keyboards, software instruments
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Steve Dinsdale – drums, keyboards
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Lorin Halsall – acoustic and electric double basses, electronics
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Yvonna Magda – violin and electronics
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Andy Peake – piano, keyboards
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Walt Shaw – drums, percussion, electronics
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Jan Todd – vocals, voices, melodies, electronics, guzheng, electric Harp-E,
lute harp, cross strung harp, hulusi flutes, metal Noisebox, waterphones,
found sound recordings, electronic samples - Terry Todd – bass guitar
The method of The Orchestra of the Enlightenment mixes composition, improv,
and collage. For two frenetic days the band gathers and records all base
tracks. Afterwards, Martin Archer takes the recordings, does overdubs,
“radically” edits, and collage until, finally, the mass of granite has been
shaped into a piece of work that reflects Martin’s original vision along
with Brit prog, avant jazz, electronics, psychedelia, and trippy cinema
soundtracks. There is a lovely Ummagumma-ish-ness to parts of this that I
didn’t realize I missed.
The music is presented twice, once broken into eleven tracks, and once
presented as a single hour-and-a-quarter-ish track of the whole thing. I
prefer the latter, since every moment of music depends on where it came from
and where it’s going. The segues and fades of this collage work are all on
point.
There are many specific points that struck me extraordinary and have made
this a many-spins-five-star album. After an evocative and lovely duet
between the bass and the guzheng (an African zither-type), the second tune
lets out all the horses. The drums fall into that ensorceling, mid-tempo
“set the controls for the heart of the sun” groove that’s going to be the
foundation for much that follows. The bass launches a repetitive, funky
riff. A horn section of sorts, electronics, violin, haunting vocalese,
electronics — overlapping melodies, almost, at the level of the arrangement,
a round. On top of the pile is Archer’s baritone saxophone — which has a
majestic timbre.
Martin Archer’s Discus puts out so much great stuff it’s easy to take for
granted. But five stars is five stars, even when Archer makes a habit of it.