n e w r e l e a s e s
John Clare Reviewing 'Avocado' in The Music Trust.
"The closer one listens – and despite the tiny dimensions of the subsidiary sounds – the more this resembles flying through turbulence – the rhythmic side slips, sudden drops and laborious compensatory metric ascensions, and of course the vibrations. By now we have begun to feel strongly the momentum and the manipulations of time. Fascinating to say the least. Track 2 is a different story The alto is easier to recognize immediately, though it burbles and rasps, sometimes squalling and lashing like an angry cat. Where traditional music might work with supreme concentration to develop melodic subjects, themes and propositions, this is a fiercely intense working concentration on the structure of sound itself."
"...this is all beautifully rich music. A hermetic closed off field of limited saxophone sounds, but within those limitations Farrar really finds lots and lots of small variations to work with. Sometimes it sounds like feedback, or a choir of insects, or sounds from an old industrial site, and most of the time, it is hard to believe this is a solo saxophone at work. This is an excellent CD of improvised music, composed music or electro-acoustics..." Vital Weekly.
As listeners to the experimental, improvised, Jazz, Ethiopian and style-free music communities in Sydney will testify, Peter Farrar has been doing astonishing solos the last few years.
He's been honing techniques that use various extensions on his alto sax, (mainly plastic bags and bottles as mutes). Instead of an instrumental line, he produces startling layers of distorted tones and overtones with pervasive, insistent, generative rhythms. This is pioneering research — he has reimagined the instrument.
At Splitrec we knew it was important to document this important work and give it to the world at large. Avocado was recorded over a period of months at the Tempe Jets from late 2014 to early 2015. From many hours of recordings 4 iconic tracks have been chosen.
There is a sense of the pioneering virtuosic, and a sense of naïve and random speculation. There is a casual approach to performance and also at times long sections of circular breath intensity. You think you are listening to a classic solo instrumental album and then track 3 (green stripes) becomes a field recording with rain and distant jets. Always there is a rigorous focus on the materiality of the sonic phenomena he is releasing. He's a M O N S T E R.