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Hannis Brown
WQXR (New York), July 2013

The record never lacks the intimacy and emotive charge of human touch, while exploring electronically-generated colors and textures. Trueman’s own performance role on the album is an apt illustration of that duality. He never plays “live” with the percussionists—rather, his cameos are made, in a very meta fashion, as a vinyl recording of the composer playing a Norwegian Hardanger fiddle.

The record closes with the emotionally poignant Hang Dog Springar [a Slow Dance]. So Percussion accompanies a vinyl recording of Trueman’s fiddle with cymbals, vibes and steel drums. Charged with a reflective and uncomfortable tinge of nostalgia, it’s both the sound of the future and of the past; the decay of the analog medium embedded in the primal, human sound of live percussion, and delivered in the digital-audio language of Is and Os. © 2013 WQXR (New York) Read complete review

Christian Carey
Time Out New York, July 2013

…Dan Trueman embraces the tensions between analog and digital cultures, and nowhere more so than in neither Anvil nor Pulley, featured on the latest recording by So Percussion…the piece doesn’t merely explore conflicts of man versus machine, but instead blurs the edges between them.

So Percussion has frequently collaborated with Trueman…they play more conventionally written sections for percussion with aplomb. It’s this shared commitment to bringing seemingly disparate elements together that makes Trueman and So a winning association. © 2013 Time Out New York Read complete review

Dana Wen
I Care If You Listen, June 2013

Created in collaboration with Brooklyn-based quartet So Percussion, nAnP provides a compelling vision of 21st century music-making, where boundaries between digital and acoustic universes dissolve and beguiling new soundscapes arise from the musical melting pot. Trueman covers much ground with nAnP’s five movements, mixing live and recorded elements while exploring rhythm, ostinato, and timbre through an artfully-curated ensemble of percussion instruments, including a few of his own inventions.

With nAnP, Trueman presents a potential musical future—full of color, whimsy, and emotion—where technology serves as the gateway to unlocking an entire universe of novel sounds. © 2013 I Care If You Listen Read complete review

John Payne
Bluefat, June 2013

…This is a beautifully shaded piece strewn with ear-cocking surprises whose overall effect is a kind of richly satisfying engagement, on the one hand, and beyond all that just a great opportunity for getting one’s ears and brain to enjoy the practice of deeply listening. The work is chock to brimming with head-turning timbre and resonance, and the group’s playing mastery is as always impressive, but of course what’s more inspiring is their use of such superior craft to explore a genuinely new music—of the unheard, the untried and the why-not. The old “interior landscape” thing you get in major truckloads in this seductively hypnotic music—and real exhilaration, too, for the bravery, sheer intelligence and—haha, this is old-school—good taste in So Percussion’s excellent ways of making music that is so utterly free of clichés and tedium. © 2013 Bluefat Read complete review

Jay Batzner, May 2013

…So Percussion is the perfect fit for Trueman’s musical ideas. Neither Anvil Nor Pulley is a perfect example of composer/performer collaborations.

Given the amount of creativity and artistic thought that went into the creation and performance of Neither Anvil Nor Pulley, it is encouraging to see the same level of interest go into the packaging of the work. © 2013 Read complete review

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