HOW IS IT that spontaneous, wholly improvised music can find a fascinating, sometimes emotional connection between its creators and the listening ear?
In the case of guitarist/pianist Charlie Beresford and cellist Sonia Hammond, apart from their previous releases (The Science of Snow and The Lightning Bell), there is little preconception of the specific timbres they come together to generate for each new recording. No musical form or structure, no recognisable theme nor tried-and-tested formulae, and only occasional clues from their titles. But yet again, with latest release Each Edge of the Field, their assured presentation of abstractness draws heart and mind into the landscapes they inhabit. Indeed, there is something instinctively interactive and responsive about these raw, acoustic and often filmic expressions, their space allowing you to become involved, to visualise imagery, to feel like you’re participating.
As before, Beresford and Hammond seem to draw inspiration from the rural beauty and climatic capriciousness of their Welsh home patch around both Kington and Knighton, Powys; and their nine tracks here display percussive torment, lyrical fragility, but also a characteristically bohemian warmth. Heralded by school bell and field recordings of raven calls, Calling the Corvids‘ stark, brooding darkness is formed by sustained, billowing piano clouds and searing cello harmonics, with a palpable sense of evolving exploration between these two, creatively open minds. Given Sonia Hammond’s strong involvement with the classical repertoire, there’s no denying that her approach can evoke the British cello concertos of, say, Elgar or Moeran (both of whom are associated with this general locality), and such intensity is evident in both At the Moment it Broke and the title track.
The duo’s ability to summon unusual textures from their three instruments is remarkable. A hurdy-gurdy-like prepared guitar vividly pictorialises Wire Fence, full of repetitive, scratchy motion which somehow imagines a Philip Glass-scored movie thriller; and Campanulae‘s calmer but thinly-veiled tension unsettles with rattling, discordant chimes. Motorised arco guitar in Vyallt becomes so closely intertwined with chattering cello that distinctions are unclear, save for Beresford’s elegant, solo-line improvisations; and their screeching, nails-on-blackboard harmonics grab the attention at high volume. A medieval naivety permeates the chordal guitar elements of The Weathering Yard as it clashes with contemporary classical themes – double-stopped cello marcati here are a joy, as is the intuitive, contrapuntal invention of both players. Hammond’s prepared instrument in jarring Oracle of Strangeness combines with Beresford’s inner-piano percussiveness to alarming effect; and completing the circle, as well as perhaps pointing the way to future collaborations, Crow‘s melodic guitar delicacy connects high cello harmonics and hollow depths back out into the sylvan surroundings.
Each Edge of the Field requires a certain quiet solitude to appreciate and three-dimensionalise its fluctuating nuances of sound and restraint. But you’ll know when you’re ‘in’.
Released on 1 July 2017 and available as digital download or limited edition CD from Bandcamp.
Charlie Beresford acoustic guitar, piano
Sonia Hammond cello, school bell
Sleeve images: Gaëna da Sylva
the52nd – 52NDCD004 (2017)