Precisely the Opposite of What We Now Know to be True

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This 1994 outing, featuring ex-Soft Machine bassist Hugh Hopper and a crew of forward-thinking instrumentalists, melds jazz fusion with freely organized or avant-garde-like improvisational tactics. On many of these pieces we are treated to trumpeter Ted Emmett's blaring lines atop electric guitarist Tim Crowther's scathing crunch chords, rippling harmonics, and rapidly executed single-note leads. Crowther also utilizes a guitar synth for added treatments and accentuating statements. Meanwhile, notions of Miles Davis' electric period come to mind amid asymmetrical doses of early-'70s space rock and Mahavishnu Orchestra-style technical gymnastics. Essentially, this outfit kicks up a storm thanks to an array of climactically driven choruses and soul searching interludes atop drummer Steve Clarke's extremely fast double bass drum work and sweeping fills. Keyboardist Steve Freeman also serves as a catalyst via his jazzy chord clusters and ethereal patterns. Consequently, all these tracks were improvised in the studio, whereas the band exudes raw power while also toning the proceedings down in spots.

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