- An Australian ex-pat based in Berlin, Ned Collette is arguably one of Australia’s most underrated wordsmiths of modern times. Ironically, Ned had only intended his sojourn in songwriting to be a short one. Almost a decade and a half later, however, and with two solo LPs plus four with his band -Ned Collette + Wirewalker- under his belt, all of which featured his vivid, detailed storytelling, that’s not exactly what has transpired. Last year he released what is widely described as his magnum-opus: the outstanding double-LP, Old Chestnut, featuring some of Collette’s most lucid songwriting and evocative compositions to date. Now he brings us Afternoon–Dusk, an all-instrumental project which expands on the instrumental passages from Old Chestnut.
On this LP, Collette is joined by his long-time drumming partner, Joe Talia, and his composer, James Rushford, on viola. Talia and Rushford have previously collaborated on a number of recordings, veering between avant-garde free improvisation, austere minimalism, and musique concrete. Talia has also worked with Collette for over a decade and, accordingly, the trio has an unflappable chemistry on this LP, allowing the record to seamlessly linger between various genres.
In keeping with the title, the album is made up of two musical collages titled Afternoon and Dusk. Both tracks cohesively move through distinct, richly-detailed passages, drifting through folk sections centred around Collette and his guitar, to droning and synth and tape-based sections. At times on the first side, Afternoon, a spacey transcendence is reached, before listeners are re-grounded by distant murmurings, the chirping of a birds, or a bell ringing in the distance. Tethering listeners to the compositions, allowing you to find yourself lost in the ether before bringing you back to a tranquil reality, is quite magical at times. Talia masterfully harnesses tape recordings to transform this record from abstract compositions to what often feels like a living, breathing environment.
Side B, Dusk, opens with an idiosyncratic viola arrangement from Rushford, first accompanied by some enchanting synths, before the record takes an eerie turn. Compared to the serene tapes on the first side, things are more haunting here. However, there remains beauty to be found in this abyss, particularly by way of the synths. At most points this record is monumentally layered with different details and emotions to be explored on each listen. There are some breathtaking drone sections, with consistently captivating interplay between the electronic and instrumental components of the record. Eventually it builds to a droning climax and closes with a beautiful, harmonic, slow release. Fittingly, it feels as if it’s meant to convey the peacefulness of night.
In a review of Old Chestnut, the album was aptly described as offering up the “pastoral with the cosmic”. This record follows in those footsteps: the meticulously-crafted collages across both sides present the listener with something transporting. It's a journey into a bucolic soundscape, sometimes haunting, sometimes cosmic and sometimes truly serene. Afternoon—Dusk is both a wonderful companion to Old Chestnut, and also, in its own right, a vivid, imaginative voyage into the wilderness.
- Jack Jones.