Cyril Bondi: two floor toms
The abundant half-hour of The Foil is divided in three movements that set in motion a gradual upgrade of the dynamic sturdiness, the results quenching this reviewer’s thirst for reiterative vehemence and – more often than not – making him feel rhythmically connected on a physical level (head nodding autistically, feet tapping compulsively to travel along an occasionally camouflaged fundamental pulse – you get the picture). In the first part, a steady pulsating thrum is complemented by an acceptable percentage of rattle and clatter before suddenly turning left towards a moderate hum. From there starts the second track, where the “fury of the elements” flicks the whole’s switches to something less precise but, at the same time, utterly enlivening thanks to the increased consistency of the percussive raw matter (irregular accenting, shrieking metals, a somewhat obsessive “wooden granularity” contributing to the progressive immersion in a still-manageable havoc). More humming – no-input mixer style – and bell-like resonances lead us into the concluding section, in which the piece expands its dominance inside the listener’s cognitive systems, fusing all the constituents into a two-headed Jason Kahn/Will Guthrie creature who, at the end, keeps kicking and snarling violently while inexorably wrapped by the mantle of a brumous equalization. The third mega-hum signs and stamps an excellent release.