This one is from 2009, and features guitarist Caine in the company of Tom Blancarte (bass) and John Wagner (drums). In the liners, the leader talks extensively about the wish of “approaching the guitar from a different perspective every time I play it” (which, it must be told, should be obvious for a trustworthy creative instrumentalist). Unaware of how he feels regarding this work two years after its release, the reactions that materialized here as the minutes elapsed were not that encouraging. The first had to do with the lack of mental maps and definite directions by the instrumentalists, whose interaction is not exactly tending to what’s commonly defined as “reciprocal listening”, though I’m sure that all three would reply that this is absolutely false. However, to these ears the large part of the music sounds cluttered, hopelessly cramped in a closet full of unexpressed anger, even if it is driven by the sort of energy that often ascends levels to become – in other occasions, not at this juncture – cause of violent transcendence. But, alas, Sonny Sharrock it ain’t, thus a secondary effect was the “charged ennui” caused by the relative sameness of the main guitar timbre (semi-growling saturation, with preference for the higher registers) and – curiously given the leader’s written introduction to his methods – of the very approach to the “tunes”, synthesizable as a classic case of mountain giving birth to a mouse. Basically, Thousandfold seems to depict a painter trembling nervously, all set and ready to craft the ultimate masterpiece, then suddenly taking the canvas and cutting it into pieces out of frustration while the assistants clap their hands embarrassed. There is no breathing herein.