There are times when songs don’t require singers, and the music just demands to be heard. “Man Chasing Woman Around Table,” from Enion Pelta and David Tiller, is one such album. More than anything, it exudes unhindered feelings in each of the 12 tracks.
These two are relatively unknown (read: not mainstream) musicians, and that’s a shame. Violinist Pelta and mandolinist Tiller have played music for most of their lives, and both play their instruments with world-class skill. The couple is also one half of Taarka, a Portland-based group formed early last year. Taarka’s music is officially described as “seismic hypno Gypsy jazz.”
The compositions on “Man Chasing Woman” — both collaborated, and individually written between the two — show cultural influences aplenty: from Celtic, Middle Eastern and Indian to jazz and bluegrass. They are as beautiful, daring and strange as should be expected from such immense talent. It only takes listening to the first few measures of “Camille’s Last Jump” to get a sense of this. Here is a piece that swoons delicately, with the possibility of eliciting far forgotten feelings from the listener — maybe even ones they never knew they had.
And that’s the secret to the album; it’s epic, but in a devastatingly intimate way. This keeps it accessible and also danceable. Thanks to their musical interests, Tiller and Pelta have acquired a keen sense of rhythm — one with a disposition toward the full body movement of a given listener.
The record has great replay value, because even listening to it once or twice won’t be enough to hear everything. This is music that lasts, with depth and subtlety, that if followed, can be climatic and devastating.
“The Tants of Toyt” is a reminder that it’s possible for music that isn’t rock to still be rocking. It’s an all-out romp of insane rhythm — with the musicianship to back it up. Tye North, one of the many guest musicians, dials it in on the
upright bass.
“March Waltz,” a Pelta composition, “The Laundry Room,” and the album’s title track, both Tiller originals, are also noteworthy. In these duets, the two have a musical unity unparalleled, with each taking turns soloing. It would be a crime to allow Pelta’s downright righteous solos to go unmentioned.
These are but a few highlights, but in actuality, there really aren’t specific standouts. The whole disc is one sustained highlight. The best music is usually not immediately visible, and instead must be sought after actively. “Man Chasing Woman,” is only available at performances and through the artists’ Web site, at davidenion.taarka.com. Highest recommendation possible.