Pell-Mell the Prolix is the collaborative follow-up to Pictures of Men. (2003), where Patrick Farmer and David Lacey made an impact among that year’s releases by kicking the album off with a recording of pigs. I, myself, have only heard excerpts of the work (that unfortunately don’t include the pigs) so I cannot speak to that release’s integrity – however, reviews are favourable. The Duo are now back with an album on Mathieu Ruhlmann’s ever intriguing – and quickly growing – caduc. label; a perfect fit, I might add.
The flavour of Pell-Mell is equal parts accident and intention, where, even if the recordings used here are in themselves often chaotic, the bigger picture, it seems, is what the listener is meant to seek. Over its 38 minute duration, Pell-Mell patiently unfolds with a series of recordings – some obviously of the field variety and others likely from improvisations – that smash cut from one to the next. This technique is certainly not unheard of, Chop Shop’s Oxide from almost ten years back is an album that immediately comes to mind. Farmer and Lacey are liberal with the technique throughout the album, and although it feels abrupt and a little jarring for the first few minutes, one quickly acclimatizes. In my case, I found that after a certain point I was anticipating the next cut, and was often relieved to find an unpredictability to the whole thing.
Technique aside, the recordings alone are very interesting, more often than not overblown, resulting in less detail heard from the actual source recordings. What we do end up hearing then is largely a byproduct of the recording process, ultimately giving the work a feel closer to that of old-school noise as opposed to electroacoustic improv or your typical “clean” field recording release. However, there is nothing here abrasive enough to pin these two as noisicians. The noise that is presented does more to soothe than it does to agitate, albeit, without lulling one into a stupor.
I’ve listened to this enough times through to get a sense of its overall shape, and it hits an especially nice groove at around the twenty minute mark, the duo settling on elongated drones that counter the rougher hewn parts beautifully. Pell-Mell’s 38 minute span feels a touch short for what is a universe’s worth of sound contained within, but the duo is smart to not push their piece into inevitable stagnancy–better a work is too short than too long I’ve always thought. Despite feeling like the work could have safely been ten minutes longer, the strange world of sound that Farmer and Lacey present here is captivating to say the least. I look forward to more from these two in the future.