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Fox Millions Duo, as some people may deduce from the name, is a partnership between two of the finest drummers currently working within the world of experimental rock music - namely Greg Fox from Liturgy and Guardian Alien, and Kid Millions from Oneida, People of the North and Man Forever. Lost Time is their first collaborative release, the result of two six-hour recording sessions in Brooklyn late last year, when these in-demand musicians finally took got some time away from their other projects.

Released as a limited LP only (with download code), the long session recordings have been cut down into two side-long pieces, each dramatically different from the other.

Side one is labelled 'Telegy/ Time Lapse' and sees the two of them sparring with each other as they flutter around the semblance of rhythm. There are of course no "tunes"; instead there are textures and atmospheres, made from the fuzz of Fox's distorted electronics, whilst the players' drum kits clatter to the fore. At times it almost could be a cross section of a drum-filled Boredoms performance, complete with surging pulses and frantic cyclical rattling, like a hummingbird trapped in oil drum.

This manic swirl of drumming stops suddenly and gives way to reveal a pulsing sound, barely there, which it turns out is the amplified heartbeats of each of the two musicians. This incorporation of their heartbeats, the synchronization of their internal and external rhythms, was inspired by Greg Fox's mentor and legendary free-jazz drummer Milford Graves, and is also not unlike something that Millions' recent collaborator Laurie Anderson would also experiment with.

The pace and the noise picks up again and there is a distant howl which almost passes for a vocal, barely heard over the intense, almost impossibly fast, drum fills. The dramatic effect of this is most effective if listening loud, and when their heartbeats return after the second cathartic noise session, they are maybe less in sync after the onslaught. It is such a surprising trick that you wonder if it isn't your own heart just beating in your ears.

Side two, or 'Post Encounter Effect' lives up to its title, as it is the calm after the storm, a lull after the frantic energy bursts of 'Time Lapse'. The piece builds from a single strummed guitar chord whist another guitar drones alongside, and the drumming is slow and tribal. There is cymbal wash over the latter parts of the drone but the rhythm remains steady, powerful, and oppressive. The piece is meditative; it is more uniform, less chaotic, and maybe not quite as interesting.

Side one hints at the more intense moments of Oneida and Boredoms but ultimately it sounds like nothing else, whilst side two takes a more familiar approach and would sit well beside the likes of Swans or Om, for example.

By approaching this album as a collaboration between two drummers you risk limiting its appeal. It is better to think of it as an experimental improvisation, and important to note that the musical palette isn't limited to percussion, and there are interesting electronic elements as well.

Fans of Oneida, or Liturgy, or both, should be familiar with the boundary-pushing aspects of those bands, and will relish a chance to dip into this recording.

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