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1 | Audit - 20.01.02 | 20:45 |
| 2 | Baggage Reclaim - 24.03.02 | 8:51 | |
| 3 | Worm - 27.02.02 | 31:45 |
Sakada is: Mattin (computer feedback), Rosy Parlane (computers and radio) and Eddie Prevost (percussion). "Undistilled was recorded at live performances in London and Rotterdam in 2002. Components are a restricted range of percussion (Eddie Prevost), electronic sounds confected earlier for intuitive, tweaked release (Rosy Parlane), and nervous hyper-attention to every noise present, allowing spontaneous digital transfiguration of some (Mattin). The product is a formidably dense mesh of textures and a subtle alignment of urgency and stasis, persistence and interruption. A sound-body exalting in its raw and varied outer abrasions, tormented by heaving intestinal bass and pierced irregularity by silver screeches, yet somehow concealing a few inner surfaces of all but languid smoothness. Needless to say (or to continue demonstrating), it is wholly incommensurable with any attempt at verbal description."
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Mattin / computer feedback
Rosy Parlance / computer, radio
Eddie Prévost / percussion
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Track 1 recorded at Audit Club, London on the 20th of January, 2002; track 2 recorded at Worm, Rotterdam on the 27th of February, 2002; track 3 recorded at the Baggage Reclaim, London on the 24th March, 2002. Front cover by Mattin
A founder-member of AMM (1965-2022)
“[Eddie Prévost’s] is one of the greatest metallurgists that music has produced. […] sparks delicately arcing through the air, of slow lava ingesting its surroundings, of the shifting grind of tectonic plates across each other, of the rustle and glint of a firebird darting between shadows, and of ore smashing into the surface of the earth; but perhaps this language is overwrought: all that needs to be remarked upon is Prévost's industry, his diligence.”
Nathan Moore — liner note to AMM’s ‘Indúsria’
Matchless Recordings mrcd105.
But beyond this work Prévost has also maintained a relationship with the jazz drum-kit.
“His free drumming flows superbly making perfect use of his formidable technique, but his most startling feature is his stylelessness. It’s as though there has never been an Elvin Jones or a Max Roach.” - review of a set with saxophonist Lou Gare, Melody Maker (27.03.1975)
“Prévost, meanwhile, was simply miraculous; it was fascinating to watch him and to compare his approach with that of a Kern or a Nilssen-Love. I can only say that he was possessed of an uncanny, burning intentness that navigated the ensemble through passages of stark, sculpted beauty, grave concentration and full-on, bristling energy.”
Blue Tomato, Vienna 2012. In concert with Marilyn Crispell and Harrison Smith. Richard Rees-Jones
“An excellent release from one of the finest percussionists around, jazz or otherwise.” review of Prévost’s solo CD ‘Collider’
Matchless Recordings mrcd106 – Brian Olewnic, Squidsear (2022).
“Relentlessly innovative yet full of swing and fire.” – Morning Star
