Without wishing to get embroiled in semantics, there must be a stage at which music can no longer be used as a description of certain sounds.
To take my stand, I would say that lengthy passages of this album are about sounds rather than music in the orthodox sense. In practice, they are assembled rather well, the element of chance inherent in the electronics is restrained and all of the players seem concerned with relating to each other. At times, either by luck or good judgement, the overall polyphony becomes quite harmonious and one could almost classify the result as a futuristic tone poem.
Having said this, and confirmed that nothing wildly offensive occurs, it must be concluded that little that is aesthetically satisfying occurs either and that, in the final analysis, it is something of a dissipation of the talent of men like Parker, Lytton and Lovens.
As a closing thought, I would draw attention to the fact that amongst the instruments played by Annabel Nicolson are fire and smoke. I would suggest that her intonation on both is suspect.
Discography
Circadian Rhythm – Excerpt 2; Excerpt 3 (19.45) – Circadian Rhythm – Excerpt 1 (22.45)
Evan Parker (ts/ss); David Toop (f/rec/pic/misc.instruments); Hugh Davies (electronics); Paul Lovens (pc/saw); Paul Lytton (pc/electronics); Max Eastley (misc. instruments); Annabel Nicolson (conflagration effects!); Paul Burwell (pc). London 29-30/7/78.
(Incus 33)
