“The first duo between Wick and Weber finds the two players entering into a discrete form of call and response. Even at the outside the emotiveness and power of their playing is palpable – two wild animals, bound in rope, circling with snarls. Notes, timbers, and textures punctuate an almost overbearing silence and sense of space. As Wick’s playing shifts between amplified breath, squeals, and shimmering lines of tonality, Weber grinds against him with rhythmic dissonance. At moments it almost feels as though the entire history of Free-Improvisation is being laid bare, stripped, and tumbling at your feet. The second duo with Casey Anderson enters this subtle world on different terms. It begins with Wick weaving his breath into Anderson’s pallet of electronic noise – something like what I imagine the pulsing underbelly of Disney Land to sound like. The harmonic relationships are brilliant and unsettling, before things begin to pick up with Anderson’s entry on saxophone. For the remainder the two weave in and out of each other, responding, and raising the bar. It goes from outright assault, with a raw guttural clamouring, to such discreet interjections that you wonder if they’re ever there.
Twice Love is one of the most interesting and exciting entries into the world of Free-Improvisation I’ve heard in a while. It joins a slow trickle of releases by young players sculpting a new and exciting world of possibility. It’s a thrilling listen, which has compelled me to return to it contentiously over the short time I’ve had it in my hands. It foreshadows great things for all of its players, and for the label which which has taken the care to bring it into the world. I can’t recommend it enough. Marginal Frequency has taken the admirable stance of not releasing it digitally for the time being – making it only available in its physical form. If he makes it to a town near you, I highly recommend checking him out.”
– Bradford Bailey, The Hum
