Violinist and composer Phil Durrant has been at the forefront of the electronics scene -- especially electronics that elaborate and extend live instruments -- for the better part of two decades. His compositions here focus primarily on the repetition of acoustic sound as processed tonally through electronic devices as a way of making both consonant and dissonant the tonalities found in both spaces. On the ten pieces here, he organizes a series of electronic sounds that are commented upon, added to, and subtracted from by his violin. Consequently, the various tones and microtones emanating from the flow of both instrument and sound space become the ground basis for other investigations. The structures themselves are composed while what takes place inside them is improvised. To great effect, Durrant succeeds in creating the perfect sonic and textural foil for the violin: the architecture of his electronics is developed in such a way that the instrument is engaged at every point rather than repelled either dramatically or dynamically, with only tonality being the lone "rumbling point," which is a new space on which entirely new musical languages -- not to mention sonic environments -- can be erected to serve as further points of contention and departure. This is provocative and ingenious.
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AllMusic Review by Thom Jurek