On Intersects, Jacob Felix Heule and Bryce Beverlin II have produced a difficult and ferocious record comprised of long-form improvisations from percussive and resolutely a-melodic components. Alternating between a focused clatter reminiscent of field recordings of a building site and the improbable poly-rhythms that slowly emerge, the force of the blend of electronic and physical sources often becomes so dense as to imitate a harsh noise piece.
The immediacy and physicality of such an unedited live performance is captured well as the pair collaborate at the free improvisation showcase Beverlin curates, as is the focused and intuitive engagement of two artists with varied and eclectic previous discographys. The experiential quality of the recording, one which rewards immersion, and the almost imperceptible friction and eventual indistinction of the electronic and percussive elements, listed unattributed on the sleeve, is presumably one of the points of intersection referenced in the title. Yet in the recording of such a singular event, what is certainly also captured is the intersection of performer, methodology, live and recorded music and the organic and inorganic sound sources and output; conceptual concerns which certainly do not marginalise the brute force of the pair’s playing.
Searching for some obtuse reference point from Beverlin’s background as a physicist, it is tempting to frame the piece’s combinations, connections, expansions and abrupt fractures of sound as some strange reaction or freak occurrence; implacable and formless. Although never sounding as austere as that implies, the record is as fascinating and baffling as such an analogy suggests.