It is great to see a new outing from Mark Kluzek‘s Doomed Bird Of Providence and for this first since 2022’s A Flight Across Arnhem Land, he has once again gathered a reflective and expressive group around him to do justice to a suite of pieces reflecting on themes inspired by Marcus Clarke’s 1874 convict adventure novel For The Term Of His Natural. The titles of the pieces and the sound of the album are taken from the story and with the group reverting to instrumental improvisation rather than vocal structure as well as using Mark’s circular graphic scores, the scene is set for vivid and rich description.
Interestingly, the first impressions from the album relay a dusty Spanish inflection through dry, dusty air; a driven surface momentum that has the desire to cover ground, back turned on what came before. It moves on to a fuller band workout with Ian Hothersall‘s drums giving a circus-like air, with Katie English‘s flute hovering and the rest of the players circling the action with a resigned air. It feels as though they are searching for warmth and solidarity in a situation that calls for it.
Joolie Wood‘s violin acts like a valve that allows the other players to fill any void that arises, turning into a constant sinuous movement. Peals of Richard Acton‘s guitar rush with an edge and there is a summoning of the Godspeed You! Black Emperor spirit in its epic vision, but perhaps without the agenda. The drums are essential and the attention absolute. The emotions are raised and lowered with some of the pieces shorter and more gentle; Mark’s accordion wheezing, its emotive tone in keeping with the sense of gradual loss of the known. It is also able to pick up the threads and settle things down, allowing a steadiness but with an ancient narrative that is assisted by Drew Barker‘s bass. Katie’s flute offers differing support at opposite ends of the spectrum, while the gradual appearance of the violin acts like a shoulder and a distant thought of home.On the second side, the combination of bass and violin offer a darker expression, shadows are cast and a new perspective is formed. This dawning realisation is less accommodating and a more suggestive, almost dashing rhythm entices with reflective moments, but struggle with control. The need to look inside and take stock is high, and the violin — almost hyperactive in its animation — veers away from these more controlled elements. The loss of control starts to become real, gradually swelling in grandeur.
The introduction of Rachel Laurence‘s viola and the tuba of Barry Butcher suggest a real change of tone, with the baritone vocal drone of Simon Finn and Mark’s death march percussion seemingly putting the tin lid on hope. The conclusion however comes with the reintroduction of the accordion; but it is stuck, moving in helpless circles, desperate to escape but submitting to a serene insistence that comes from a recurring violin and flute motif. A guitar bashes wild with frustration, perhaps denoting that there is no return; this is a the reality, ineluctable and all we can do is submit.Once again, Mark has drawn dramatic tension from this committed group of players that covers so much emotional ground and leaves us yearning for more. Each new spin offers us fresh perspectives and its rich tones make it a pleasure to resubmit to.
-Mr Olivetti-
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