The irony of Vol. 2 of the Exchange Session is that, even though the three songs are longer, the music is far more controlled, composed, and tighter, as opposed to the improvisational and somewhat looser sound typically associated with long pieces.
Domino
In the 20 minute opener, "Hold Down the Rhythms, Hold Down the Machines," it seems that Hebden and Reid find their groove after only a remarkably very brief intro. Reid's bass drum is pounding a thundering beat while Hebden's got an array of loops only about a minute in, and by the four minute mark, vibe/marimba-like sounds are driving the melody. A steady rhythmic pattern at seven minutes is fun to groove to and by the eighth minute, each begin to let things spin almost out of control, before bringing it back in line for the last half of the song. What I most enjoy is towards the end when Kieran's grooving along with Steve, adding a few bass-note loops to his mix of gadgetry.
Thumb piano, wind chimes, bells, and low rustles usher in "Noémie," and here's where I can see the comparisons to Miles Davis (as proclaimed on the sticker on the front) can arise. The foundation is laid and on top of it, samples of wind instruments and what could be an alto sax trickle in and out: repeating, exploiting, and diverting from a theme. But the Davis connection doesn't last long. "Noémie" is like a journey through uncharted terrain. The first part is calm and assuring: both Hebden and Reid thankfully choose to remain in a sedated mode for a good, long period, keeping focused without letting things erupt predictably. Things pick up but it doesn't feel like we're anywhere different for a while, it's as if we're moving along through the same scenery as before, only a bit faster. Only towards the end do things become spooky, ominous, as if we've wandered off course into some dark regions, but we do soon return to the sanctity of the home base by the end of the journey.
"We Dream Free" sounds more like a band than any other piece as it opens with what could easily be a double bassist and guitarist playing along with Kieran and Steve. Peaceful, decorational sounds like glistening bells and chimes come in and out and as Steve drives up the pace and intensity, Kieran keeps on the mark, maintaining a bass line (which is probably difficult given the gear he's actually working with). Unlike on Vol. 1, this record's closer calms to a halt and actually comes to an end without getting lobbed off abruptly.
Hebden and Reid have once again issued a great archive of their fond session work, but haven't covered any new ground with Vol. 2. Those who were not a fan of Vol. 1 won't be won over by any drastic differences. I think with this one, however, I'm personally more satisfied, like the tunes are something more substantial that I can sink my teeth into easier, and I'm not itching for a resolution.
samples:
Read More
