Blurring Into Motion

Whereas his lush debut The Divine Abstract was written and orchestrated over a seven-year period, London multi-instrumentalist and composer Cawood's follow-up was apparently conceived during a three-month period of extreme creative highs and lows. The result is undeniably rich in its orchestration, with the arrangements often consisting of 12 players, but also more focused than its predecessor, with clear production distinguishing each instrument. Highlights include opener ‘Dance of Time’, where Cawood's acoustic guitar refrain is beautifully framed by flute and clarinet; ‘Abyss of Memory’, where complex guitar picking combines with cello and glockenspiel; and the wonderful patience and restraint of the final and longest track, ‘Voice of Space’. But, contrary to what the reported creative process might lead you to believe, this album's real strength lies in its cohesion and consistent quality, with edgier pieces such as ‘The Dark Within’ working seamlessly with those like the joyous title-track. Marjana Semkina contributes vocals to two pieces but, although beautifully sung, these work less well than the ten instrumentals. However, this is a minor quibble on a set that is tightly written and impeccably performed.