Unearth is the first solo recording from Australian born, Berlin based composer and drummer Tony Buck in 15 years. Support Jon Collin (GB), experimental musician from Manchester.
With Unearth he delivers his most accomplished solo composition. Built across several years, the record is the culmination of his approaches to percussive intensive, pulse and explorations in compositional density. The architecture of this work is framed unsurprisingly around a core of percussion but also draws heavily on Buck’s less known interests in guitar, synthesiser and field recordings. These elements coalesce, haunting one another in an evasive manner that is inexorable, creating a slow moving dialogue of extreme dynamic interchange.
Operating at a pace not dissimilar to what one might expect from a recording by The Necks, Unearth explores a gradual, swelling sound mass, teeming with details, cast across long dynamic arcs. Seeming to move at a pace simultaneously brisk and unhurried, the piece represents an exploration of and meditation on, the duality and paradox of time itself. Moments of fragile and infinitesimal sounds contrast with droning, dense layers; melodic and harmonic elements play out against backgrounds of texture and noise. The pieces elements operate together to render an impressionistic multiverse of worlds, unfolding and wrapping themselves around one another. The work exists as a hierarchical sound mass; a sedimentary layering of intensities , unearthed and unearthly.
“Jon Collin is the proprietor of Winebox Press – a UK company that makes some of the most incredible hand-wrought cassette packages ever… Winebox also puts out certain releases in “trade” editions, and Collin’s High Peak Selections LP is one of the first. Acoustic string improvs of great abstraction, clanger and depth, recalling a certain vibe that Loren Connors once called his own, although there’s no aping here. Lots of dizzy inventions of clustered strings that manage to maintain a certain melodic beauty for all their weirdness. There are even bits of wobbled slide and sustain that recall Fahey at his loosest. Totally boss.” (Byron Coley, Arthur Magazine)
“This spine-tingling album by Jon Collin is six-string primitivism taken to a whole other level of wildness and intuition.” – Derek Walmsley, The Wire
“Across the four tracks on his second LP, Jon Collin reiterates his interest in mining the emotional potential of the guitar, utilising a vast grasp of the capabilities of the instrument… His grasp on the relationship between the resonant qualities of the hollow-bodied guitar and the wails of feedback and reverberation produced by the amplifier is extraordinary.” – Matt Krefting, The Wire.