One of the organic effects of the Northern suburbs of Leeds being populated by a great number of students, is the proliferation of house-parties, and following, house-party bands. When I lived in Headingley in 2006/7, these events would be blessed with various entertainments throughout our hosts abode, with the basements usually being commandeered by a funk-rock band, often sporting brass, or a DJ and various MC’s. The lights and sounds of the carefree and wild at night put light into the dark months, from Hyde Park to Headingley, Chapel Allerton to Chapel Town. With the added dimension of Leeds boasting not only its Universities, but a prestigious College of Music, students naturally blended what was learnt in Music classes with the conditions of this lively party culture and community, resulting in something far greater than the sum.
When I hear The Roller Trio I am transported back into those emotions. Their eponymous 2012 debut album was instantly brought into the public eye with a Mercury Prize nomination and now, in 2014 we are lucky enough to sample the pre-mixes of their follow up, Fracture. As with the first record, through the ten new instrumentals, The Roller Trio have made a collection of pieces with various moods and tempos. Maximisation is a philosophy apparent in all areas but their number of orchestra members. From the start, with the opening track, Reef Knot breaking quickly from its funky groove into spiralling motifs and frantic percussion breaks, to the finish; there is an abundance of change and no time to loose.
There is a lot comparable between the compositional areas covered by their debut record and this follow-up, but Fracture is a clear progression and expansion. The guitar now, both through how the parts are composed, and also the tones and effects chosen, adds some deeper sonic ranges in the texture than previously displayed. This exploitation is particularly noticeable in the tracks High Tea and Three Pea. Perhaps this is a creative reaction to noticing a gap in the sound that would traditionally be filled by a bass instrument in an ensemble. The possibilities of the studio are exploited further too, with more peculiar reverbs and delays encompassing the instruments, particularly on the electric guitar, to achieve more diverse atmospheres. In Low Tide the guitar part rattles in delay and slow attack, behaving like a cello for a while.The album finale, Tight Rope, describes a quiet paranoid pulsing journey through its spacious shimmers and sustained drone.
More, more, more. They grow! The tight parts are tighter, the loose parts looser. The balance of confidence and control is resplendent. This music is an immodest celebration of life, and with these skills at their fingertips, why not.
[2014.10.16] for NE:MM Online Magazine.
