Breaking Silence

“Metcalfe turns in a performance that’s as technically outstanding as it is musically rich and creative. The flute, unlike the saxophone, isn’t an instrument that lends itself well to so-called extended techniques (though Jim Denley and Alessandra Rombolà have recently given it a good run for its money), but it still has plenty of possibilities, and Metcalfe isn’t in any way inclined to use it as a vacuum cleaner, Geiger counter or spittoon. Yes kids, it’s still about notes. Tight little melodic cells developed and exchanged with agility and virtuosity – Stephens is as good at doing it as Metcalfe – and counterpointed by skilful, sharp but discreet percussion from Marsh. It’s a real treat and another fine addition to the Loose Torque catalogue.” Dan Warburton, Paris Transatlantic
http://www.paristransatlantic.com/magazine/monthly2006/06jun_text.html

“….he (Metcalf) incorporates a modest number of extended techniques into a very lyrical approach to free improvisation. This sits well with Stephens, who is wont to construct very complicated lines just as often as he is likely to clatter or saw away. And Marsh more than matches his mates’ versatility. Throughout the different segments of this long improvisation, the trio move through lightly dancing pointillism, somber Bartokian complexity and lush long tones set adrift in vast open air. But, the penultimate section is simply a bravura performance.”
Jason Bivins Full article at
http://www.bagatellen.com/archives/reviews/001292.html

“It’s the orthodoxy of technique as against the freedom of performance that gives Breaking Silence it’s power and authority” Brian Morton – The Wire. May 2006

“Once more, this studio date has wonderful, perfectly balanced sound. While Neil’s fabulous flute is often the main soloist, it is Nick’s powerful and constantly creative bass playing that is often at the center of the activity. Tony Marsh’s superb percussion is forever shifting and moving with Nick’s intricate bass activity. Mr. Marsh’s drumming recalls the connection between Tony Oxley and Gerry Hemingway, in their unique approach to the drum-set. There are moments when the tempo quickens and all of a sudden we are riding a wave, like someone surfing, balancing upon a treacherous force of Mother Nature”. Bruce Lee Gallanter – Downtown Music April 2006