As in the recently reviewed Quartet Improvisations on this same label, Stops – released in 2010, credited to Tony Marsh but in reality a duo with Veryan Weston – was recorded at the Church of St. Peter, Whitstable. Percussion and organ give birth to stylistically unrelated interchanges, manifestly characterized by the thick gauge of the performers’ prowess. Besides the expected exercising of the resonating features of the setting – the origin of a good number of challenging frequency beats and bizarrely resounding clusters – these recordings are notable for a conspicuous, if not totally explicit sense of (warped) humour on Weston’s side. The way in which the keyboardist relates to Marsh’s ever-proficient breakage of percussive prescription via extremely disconnected figurations and trills; their joint fabrication of creepy ambiances oddly recalling B-movie soundtracks; the inherent complexity of Byzantine bursts that cast overly graphic pictures aside, pushing the music’s gravity around in a punctilious exploration of acoustic conflict. A difficult test after all; the substance is dense and stimulating, yet it takes a while to be persuaded. A nonchalant auditor is likely to throw this CD away inside ten minutes.