Triosk
25 April 2005, The Premises, Hackney
Triosk are an Australian
trio whose music is an attractive hybrid of jazz-based extemporisation and
glitch-ey electronica. Their originality can in part be attributed to the
group’s grounding in instrument-based improvisation where similar
fusions are generally the product of laptop-based, archive sampling. Triosk’s
music is stranger and less predictable than its direct counterparts, sounding
as if Thelonious Monk’s Round Midnight had been produced by Joe Meek.
Tonight, they are playing in a rehearsal room in Hackney, East London. By
way of introduction there’s a varied DJ set which concludes with Miles
Davis’s Mademoiselle Mabry. The piece’s gentle pace and abstract
form are mapped out, before Miles’ entrance at the three minute mark,
in a remarkable presaging of Triosk’s approach more than 30 years
later.
Dressed down and endearingly unassuming, Laurence Pike (drums), Adrian Klumpes
(electric and acoustic pianos) and Ben Waples (bass) take to the stage.
Crackling white noise emanates from the speakers behind the audience, a
sign that the group’s performance is underway. Pike accompanies this
sound with a precise, feverish patter of sticks on closed cymbal. Klumpes
gradually builds layers of piano loops like swarms of lazy bees and Waples
provides structural underpinning as the rhythm gathers momentum and begins
to spit like a fire. Chronosynclastic Infundibula from their second and
most recent release, Moment Returns, follows and is gently revelatory in
its distance from the recorded version. Although it finishes a little too
quickly, leaving a slight sense of perfunctoriness, its mood persists at
the edge of memory.
Most of the music coheres out of an accrual of seemingly disparate elements:
ringing, pianistic repetition, the urgent patter of scurrying percussion
and the thrumming of upright or electric bass, all melding with the hiss
and grate of frugal electronics. The three musicians create dense forms,
while occasionally sounding as if they’re on separate, but related
missions. They finish with I Am A Beautiful And Unique Snowflake in which
the melody tiptoes in like a haiku blessing for a new day while a gritty
glitch rhythm vies for attention. Gradually the intensity builds and the
the group end up clinging to single notes as if they were the wreckage of
a liferaft adrift on high seas. The vibrating kernel at the heart of many
of Triosk’s compositions suggests that moment in movies when car headlamps
blur into abstract halos against a dark backdrop. The meditativeness engendered
by Triosk’s approach encourages you to close your eyes and there discover
an echo of that image in the motes and pointillist shapes that move hazily
against your own eyelids. Concentrated listening is rewarded with the sense
of a slow-motion journey towards the sublime. There’s a generous humility
to Triosk’s music and its yearning proximity to transcendence is original
and moving.