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Review

Rubberneck, December 1, 1999

Chants cachés by contrast is a plugged-in affair, decidedly electroacoustic. The organic/laminal approach to improvisation of AMM is ever present, though with wider external references. Every so often shards of delta blues, jazz, gamelan, and African music emerge. Each musician knows the other’s parameters and a high degree of empathy is evident. John Heward uses a predominantly metallic percussion set-up, very different from his free jazz burnouts with the late Glenn Spearman, and Rainer Wiens’ prepared guitar produces a panoply of beguiling effects. By virtue of the relative pitches of the instruments, Goldstein unintentionally emerges as the lead voice on these very different and satisfying discs.

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