It’s the balanced songs that connect with the ear; the rest is just agitation or foreplay, depending on the taste.
Experimental composer Graham Haynes makes music standoffish on the first listen with its jarring and chaotic drum and bass -- only to fall into mesmerizing horns. His first album in seven years, Full Circle,, achieves a state of grace at times as the two opposing states fuse on songs, such as “Circle One”. It‘s an album that takes patience as it rewards and disappoints, as in the repetitive noise assault of “Turandot Overture and Excerpt from Act III”. The cornet and flugelhorn innovator’s natural chops pull through to create the hypnotizing, fluid sound on “Quarter Circle”. It recalls the best of the remix project of French trumpeter Erik Truffaz’s work. The patter of drums keep up the tinkling piano on “Standing Before Time”. It’s more spacey than experimental. Right on time, “Second Quandrant” breaks open to a jazz-freak out clambering, only to be replaced by a soothing hum and mild electronic beeps. Then it repeats. It’s interesting exercise in measuring out the freeform against the more familiar and controlled. Yet, it’s the balanced songs that connect with the ear. The rest is just agitation or foreplay, depending on the taste.