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Pedal
This duo of the classically and modern compositionally inclined Simon James Phillips and The Necks' less formal but equally brilliant Chris Abrahams have created quite an intriguing collection of improvisations. Every piece is a piano duet and the album crosses a wide spread of styles and quality; moving from cold, modernist works to pieces with a bit more swing and heat to them, Pedal are inconsistent in ways that both help and hinder their music. While there are a couple of less than stellar moments on this self-titled album, they are more than counterbalanced by the mesmerising and evocative pieces that make up the bulk of the music.
Things get off to a rough start with “Security,” which sounds a little like one of John Cage’s sonatas for prepared piano (minus the prepared bit) but is not as engaging by any stretch of the imagination. This fairly insipid opener does not reach out and grab me on the first encounter nor does it become any more appealing on returning. It nearly put me off pursuing this album fully as it does little justice to the pair’s talent and potential, especially when there are some gems peppered throughout the disc. Abrahams and Phillips can come together well to create beautifully haunting duets such as “The Afterwards” (which should have been moved forward by one track and opened the album). There are elements of Morton Feldman’s piano works seeping through and the music sounds like swirling water, the currents building up to create torrents before settling into a calm drift again.
Pedal never get as fired up as The Necks, the white heat that Abrahams can generate has been kept in check by Phillips’ more restrained approach to the ivories. That being said, the music never becomes so frigid as to put me off. There are times when the music does come close to being ignorable such as on “Herzog,” but for every dull moment on this album, there are at least another two which are fascinating. And for such a rocky start to an album, the final piece is as close to perfect as is humanly possible. “The Passenger” is only slightly less good than “The Afterwards” from earlier on in the album but these two pieces alone make the album worth trying.
It would be a shame if this was the only fruit stemming from this meeting of Phillips and Abrahams. Delicate and sombre, this album hints at the future of this project and how good Pedal can be.
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