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Billed as an album of "original compositions for horn and violin", the debut collaborative album from these two Montreal based musicians comes across as an impressive and experimental work, as they twist and manipulate their instruments to create something futuristic, not traditional.

Their two talents are juxtaposed - sometimes they gel beautifully, and sometimes the tension between them adds drama and dynamics, bringing their instrumental music into sharp focus. At times it comes across as an organic, unplugged Godspeed You Black Emperor, and at other times it evokes modern minimalist composers.

In the last five years Colin Stetson has built himself a reputation as a mesmeric live performer, as well as releasing three superb records (the New History Warfare series). Using only bass or tenor sax, his work has managed to pull together elements of modern classical music, noise rock and even industrial.

Sarah Neufeld has released an album of solo work in between her full-time job with Arcade Fire, and it's worth noting that she is no stranger to the world of minimalism and experimentation, as she was part of the acclaimed, yet often overlooked, Bell Orchestre during the first half of the 2000s.

According to their publicity, the pair intended this album to be "guided by the metaphorical life cycle of a girl who ages slow as mountains, excited, exalted and ultimately exiled in her search for a world which resembles her experience."

Hence the opening track 'The Sun Roars Into View' (I have kept the deliberate sentence case as used in the track listing by the way) is a pulsing and optimistic piece, Stetson somehow creating a bassline whilst playing a long drone, and Neufeld's strings adding energy over the top. She plays a more delicate melody on the subtle and pretty 'Won't Be a Thing to Become' whilst Stetson provides a colourful underscore.

'In the Vespers' is full of repetitive movement, and its minimalist structure, urgent string patterns and whistling sax blasts mark it out as a close relative of Steve Reich's classic 'Different Trains'. It turns into 'And Still They Move' which provides the calm after that storm of energy.

Some of Stetson's work to date has touched on atmospheric and eerie sounds and those are still present here. 'With the Dark Hug of Time' is the creepiest track on the album, the violin holding a steady tone whilst Stetson scrapes and distorts his sax to great effect.

'The Rest of Us' - perhaps the centrepiece of the record - is a tribal almost-techno pattern with both instruments taking charge at various points, moving it one way then another - it is almost euphoric, celebratory, but there is a tension and a cautiousness within the piece that stops it getting carried away. One thing is sure, it is very powerful.

Sax and violin play more harmoniously on 'Never Were the Way She Was' and the mood becomes sombre and reflective.

This album will appeal if you enjoyed Colin Stetson's previous solo work, or were curious about his music after catching him live, but it important to stress that the credits say "and Sarah Neufeld" not "with", and this is very much an equal collaboration. Stetson's bass sax is still an extraordinary thing to hear, and Neufeld's melody lines and textures add another colour to the palette.

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