Almost three years ago, when reviewing the duo’s (@xcrswx is Crystabel Efemena Riley on human and drum skin with Seymour Wright on saxophone) 10’’ side, a spit 10’’ with Inga Copeland aka Lolina at the time, I was finding it very hard – even impossible as I commented - to rightfully describe the music. But that wasn’t an issue back then, it isn’t an issue now and, certainly, it mustn’t be an issue. Never.
On their first 12’’ album, again on the small, eclectic Feedback Moves, the duo goes on to continue exploring new, or maybe abandoned?, sonic territories. The sax and drums duo is the core, the basis one could comment but, or and, a point of departure as well. On MOODBOARD they use technology (be it analogue or digital) so that they can expand their sound towards any direction possible.
There is no way to differentiate when their sound is absolutely live, played at the moment (as easy this task can be with recorded audio) and when they have manipulated what you are listening. What @xcrswx seems to be achieving right now is a combination, a unification of the actual improvisational ethos of impromptu music, with the control over the finalized result that technology can achieve.
MOODBOARD has indeed a lot of ideas coming out from a 2023 residency in Brussels but those are just a part of the process. A process that incorporates the struggle of redefining the material, changing or shaping it, while playing live and adding the playing live ethos of improvisation –maybe of playing music in general.
I must be frank and honest that MOODBOARD is and certainly will be one of the most interesting and intriguing albums for 2026. I must listen to it so many more times in order to decide, if there’s such a need…, what exactly goes on there, how “good” it is and which of my mind’s small boxes are ticking when listening to it.
Listen for yourself:
@koultouranafigo
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