Art Lange, Pulse!, October 1, 1997

Fred Frith is usually found on the fringes of conventional music, like the experimental rock band Henri Cow. John Zorn’s iconoclastic Naked City, and various free improvisational situation. Ayaya Moses by the Fred Frith Guitar Quartet is no exception. Taking its cue from multipurpose quartes like Rova and Kronos, this foursome (Frith, René Lussier, Nick Didkovsky, Mark Stewart) juxtaposes short, scrambling, collage–style improvisations with extended compositions that explore unpredictable colors and textures-like Claude Vivier’s Pulau Dewata, with its Balinese-flavored ostinatos, slashing riffs, and quiet daubs of sound, or the medieval hocket and motet-style layering, sustained feedback and sqawking solos of Lussier’s title composition.