Warmer Than Blood, the new venture from Chris Montague, brings the composer and guitarist together pianist and ECM recording artist Kit Downes and renowned electric-bassist Ruth Goller. This self-titled debut marks the first in Montague’s extensive discography to be entirely under his leadership, and his line-up choices were quintessential to the success of this recording.
“I love how Ruth and Kit both interpret music,” Chris Montague says. “They were always going to be my first choice – and writing for a band without drums made us work much harder to create dynamics and shape within each piece. This brought out a whole new dimension in the compositions.”
“Irish Handcuffs (Introduction)” is a solo guitar improvisation consisting of a series of short riffs which interweave to create a ripple effect. As the piece progresses, a second theme can be heard over the top, still created by Montague’s guitar, but a song of its own formed by the placement of the upper notes. “Irish Handcuffs” itself is a little livelier, warmer and with a distinctly Celtic lilt. Indeed, given the title, it would be a surprise if it didn’t.
Intricately rhythmic, the first half of Warmer Than Blood’s “Irish Handcuffs” is almost pert in its delivery before the middle section, where strings and piano work to create patterns of clarity and exacting complexity. Although drum-less, the percussive additions from Kit Downes’ piano frame serve to provide emphasis to the rhythms. The strings of bass and keys maintain the patterns underneath soaring guitar work from Montague, with more than a nod to rock in the delivery.
The title track on Warmer Than Blood was inspired by a poem of disturbing imagery from Fiona Sampson, and that’s reflected in its distorted harmonics. A pulse runs through the piece, like a heartbeat – and there is a menace underpinned by the relentless beating. It’s soft, gentle but always present under the piano, like a malevolent presence. As “Warmer Than Blood” develops, Montague’s guitar is heard across the top, before the seamless transfer of the lead to Downes’ piano; both voices sing and change, altering their patterns and creating beauty over always, that continual beat.
Named for Chris Montague’s son, “FTM” is a confusion of rhythms, variations and tempo changes. The piano delivers a restless, yet playful section and there is much crashing and bashing in an almost childish delight, complete with middle section which sounds like fairground music. The final third sees a slow increase in noise until a sudden drop off, and Ruth Goller’s bass is left delivering rhythm over which the piano plays. This track is stand out in terms of invention and delivery.
“C Squad” sees strong, rhythmically balanced guitar and percussive noise over awkward, off-kilter thrums and electronic sounds. The rhythm quickens around the half way mark, and the piece sets off in a drunken sway of cack-handed patterns which rub up against each other in interesting ways. A delight.
“Not My Usual Type” has a melodic overtone which imbues a sense of rest, an oasis of calm and gentleness. It’s more of a standard format and an offering as sweet and gentle as the following track proves not to be. This shows an alternative side to Warmer Than Blood which is engaging but also revealing. “The Internet” is that promised contrast and this track, written to reflect Montague’s ambivalence about limitless connectivity, is snaggy, uncomfortable and stuffed with contrasting rhythms, changes of pattern and disconcerting chords. Yet somehow, it is also quite intriguing, reflecting the different corners within the virtual world.
“Moira” is inspired by Chris Montague’s grandmother and is an exploratory, reflective piece, each phrase gentle, expressive and respectful. The final track, “Rendered,” is a different delivery again, with a beautifully worked guitar passage of lyrical narrative which is enhanced and supported when Downes’ piano and then Goller’s bass add their lines.
There is such a sense of creation on Warmer Than Blood. Strong deliveries are tempered with gentle passages, and the off-kilter, clashing rhythms are tempered by pin-point note placement. It is a unique sound and reflective perhaps of the long-standing creative relationship between these three musicians. A joy to listen to.
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