Reviews of Stern / Guerra's 'Stitch' (004)
Guerras luminous drones loop through much of the
music, refracted at times into recurrent
sub-Frippertronics. Stern wafts clouds of
interference into this radiant atmosphere,
agitated particles of noise and found sound that
either hang around like dust or cling together
in a continuum that inverts the guitars serenity.
Julien Crowley - THE WIRE, September 2003
I could easily see myself disappearing in the smoky
trails of these glacial avant-garde improvisations
for hours, and when the performers involved approach
the genre with this sort of inventiveness and
excitement, I'll be happy just sitting where I am
right now, staring at nothing and everything at the
Mats Gustafsson - The Broken Face
Stitch is an intricately constructed, deftly
sustained and pervasively atmospheric exercise.
Stewart Lee - Sunday Times, London
If there are barriers between experimental electronica
and free improvisation, this lot are breaking them down.
Peter Marsh - BBC-experimental review
"Stitch" is a marvelous recording, a beguiling
approach to improvised music that deserves a wide
Brian Olewnik - http://www.bagatellen.com
Even in its most abstract, electronics-driven
moments, the music keeps a door open on melody
and harmony. The closing 19-minute track provides
the disc,s highlight. Here the guitar becomes
highly tonal, first slowly laying down a
post-rockish motif and later reappearing in a
sped-up incarnation as the gritty electronic textures
pulls it underwater.
Francois Couture - All Music Guide
The best piece of the untitled lot is the final, ninth,
piece, which takes up almost a quarter of the entire CD.
Starting with picking strings, it slowly evolves in to
laptop processed guitar playing, almost like a sweet lullaby.
Frans deWard - Vital
Stitch, the latest release by Australian/(sometimes)
UK artists Joel Stern and Anthony Guerra is a dense,
pretty, dare it be said, almost tuneful release for
Impermanent Recordings (see Peter Blamey's Salted Felt
and Stasis Duo's Hammer & Tongs). Stitch is rewarding
texturally but even more intriguing structurally because
it is not about cohesion, more about fragments and the
transitions between them. It seems to be made of shards,
torn sections with ragged edges, some tacked loosely
together, some sutured so tightly the sonic fabric
puckers, the tensions tangible.
Gail Priest - Realtime