Signal to Noise, Sept. 2007 issue, p.80
A whisper of brushed snares, two metallic taps, a snatch of the faintest human voice, and then strings open onto a vast plain of reverberant sound and slowly evolving drone. The opening moments of Look Around evoke multiple landscapes, layers of sonic possibility that are then realized throughout this superb and surprisingly adventurous disc. How many groups claim use of electronics only to disappoint? Here, they shape perspective, providing subtlety and adding delicate shades, never trumpeting their existence as anything but symbiotic. Even when obvious, as in the transition between Line and Bright and Wide, or at the opening of It Would Seem, the loops only enhance, or reassert, saxophonist Nathan Hanson’s seductively pithy motives. Usually though, the group aesthetic, free jazz with a rock edge, is rendered refreshingly cinematic with electronic aid. It Would Seem finds cellist Jacqueline Ferrier-Ultan and bassist Brian Roessler in frenzied dialogue, increasing reverb giving the impression that Ferrier-Ultan is gradually leaving the jazz-inflected environment for some distant place. Only when Hanson swoops in does the jump-cut transformation reveal itself in full, Federico Ughi’s drumming sealing the rhetorical deal with hard-edged funk precision. Likewise, A Very Small Animals mysterious opening sounds anything but diminutive as vast reverberant chasms are sculpted and traversed in gorgeous counterpoint, the texture slowly building to Ughi’s increasingly dense but translucent interjections. Ughi really shows astonishing versatility here, able to match any group gesture with well-placed support or a gentle nudge in another direction. The others are no less inventive, transcending post-modern superficiality to create a convincing stylistic blend. Innova is the perfect label for the Merlins, who bring just a touch of Musique Concret to the core of this fine production, yet another layer of reference adding equal interest. It will be fascinating to see down which avenue of discovery the quartet chooses to lope, jump or run.
by Marc Medwin