Hex
Hex places Bark Psychosis between a song and a slowly changing environment. Guitars, bass and drums remain recognisable but need not keep playing the same roles. Piano, strings and wind instruments have room to change the mood. Graham Sutton's quiet singing often sits among them without demanding all the attention.
The Loom begins with piano and cello, letting the melody take shape gradually. Later, the emphasis shifts towards percussion. That willingness to change direction along the way makes the album interesting. The music stays too melodic to become a loose background of sounds, yet avoids the expected return to a chorus.
A Street Scene and Absent Friend give guitar and bass more direct movement. The bass parts especially help hold the spacious arrangements together. The songs consequently need not keep becoming louder to move forward. Big Shot places a much heavier, dub-like bass beneath jazzier and more abstract passages. It brings a different rhythmic feeling without breaking the continuity.
The last pieces open the setting further. Eyes And Smiles lets wind instruments and guitars gradually gather tension. Pendulum Man then chooses an almost entirely atmospheric ending, using echoing guitars and keyboards. It offers a gradual withdrawal rather than a large release, which suits the album well.
Sutton's restrained voice sometimes removes energy too. A few passages wander longer than seems necessary, leaving Hex less focused in places. There is considerable sensitivity to sound and proportion in return. The record uses different styles without becoming separate exercises. Bark Psychosis make something that can sound calm while constantly changing. Follow the individual parts and there is plenty of movement and character beneath the quiet surface.
