Few players – though brilliant on paper – could make something this good out of such freedom. Chops alone can’t do it – in fact chops often work in the opposite way. It is the subsuming of the ego and the meshing of consciousnesses that will get the players, and we the fortunate audience, there. And, here, The Hunters & Pointers do it every time.
This is Williamson’s eighth album since 2001’s wonderfully-named Non-Consensual Head Compression and, as well as being an obvious evolutionary step, it is a beautiful thing.
Review by Peter Kenneally: “It’s all driven along by and part of the rhythmic net around it: when this happens, and it does often, the album draws you in and entrances you.”