Martin Archer, Geraldine Monk & Julie Tippetts: Fluvium

The latest arrival getting a spin in the extended kitchen of the Point Moot summerhouse -

Martin Archer, Geraldine Monk and Julie Tippetts: Fluvium (Discus 2002) LINK

The first Archer/Monk collaboration Angel High Wires (la Cooka Ratcha/Voiceprint 2001) also featured the glorious Julie Tippetts, but to a lesser extent as one of several featured vocalists. Here her role could still be mistaken as being secondary to that of the main duo, particularly because this time she is not the narrative vocalist rather a vocal (as instrument) orchestrator, and often her contributions are deep in the background if present at all. But her influence has shaped the whole project such that she truly deserves to be credited as a collaborator proper.

Despite the obvious continuity between the two projects Fluvium stands as a stark contrast to Angel High Wires for several reasons. Firstly, there are no additional musicians in the mix; space is the order of the day. Secondly, rather than using guests Monk here recites her own texts. Thirdly, Fluvium's text is a continuous form; the four titles (not counting the fifth track which truly is an "Aftershock" and stands as a separate companion piece to the main body of work) are best considered as "index points" to help break up the sometimes difficult journey. The result is a piece of music/poetry/soundart that sounds complete and fully formed in both its concept and execution.

Archer credits "electronics" as his main instrument on these releases though he still adds a bit of sax (and other conventional instruments) now and then. His style here is deep into avant-garde jazz territory, or probably more accurately jazz-tinged avant-garde if you want to be particularly taxonomically anal. Percussion is notably absent, creating a fluid open environment for the three to explore. Monk, to quote the British Electronic Poetry Centre, writes "atmospheric narratives gleaned from the coincidences of circumstance and the emotional geography of place." Her bio continues, "I want the physicality of words to hook around the lurking ghosts and drag them from their petrified corners." Yes, beware! this is modern stuff, yet Monk's genius lies in her ability to arrange words and phrases, along with carefully (mis)placed punctuation into flavourful text-forms, the same way musicians such as Archer, or Robert Fripp arrange notes and sounds without a formal template to create a textural and emotive sonic environment. Richly effective these words can be, if the listener can find the right space.

And then there's Julie Tippetts. Despite their modest presence her vocalisations throughout act as a complement to reinforce both Archer's and Monk's contributions. Through considerable restraint and empathy she forms an integral bond within this union of three. She is the voice-instrument linking the instrument to the voice. Without her this would be poetry set to music. With her it becomes a genre in itself.

This is a grand work, not a portfolio collection. Highly recommended.

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