Robert Vincs is a saxophonist with a strong interest in interactive technology. He’s also head of Jazz and Improvisation at the University of Melbourne. Adam Nash is Melbourne based artist, composer, programmer, performer and writer. He works primarily in networked real-time 3D spaces, exploring them as sites of live performance, data and motion capture, and artificially intelligent generative audiovisual environments. What does this mean? Well let’s just say the electrics are getting weird.
Together they’ve created this kind of forward thinking experimental jazz fusion. It’s a heavily reverbed technological echo chamber of strange sounds and curious ideas that curiously enough bring to mind elements of Trevor Jones collaborations with Courtney Pine on the Angel Heart soundtrack. It’s a place where technology meets atmosphere, where low rumblings and dense digitalia interact with epic heavily reverbed and quite cinematic saxophone. It’s beautiful and evocative, the plaintive wails of the sax screaming out over the digital slabs of unarticulated sound. This is spiritual electrics, whatever that is, soul stirring electronics that play out into the emotional ether.
It’s nice to see experimental musicians giving so much space to each other, so defiantly intent on crafting mood. It’s odd but it’s distinctly listenable, at times quiet musical. Vincs plays saxello, tenor sax and electronics, and Nash plays (creates?) virtual sonic environments, and whilst its difficult to discern exactly what is happening and by whom, its such a considered beautiful work that its less about technique and ownership, and more about the end result.