The story of the Portico Quartet is a fascinating one, not least because it describes how four talented (very) young (British) musicians have grown into one of the world’s most creative instrumental groups. Debut album KNEE DEEP IN THE NORTH SEA for me remains one of the most justified nominations for the Mercury Music prize (for several years) and by rights should have won. In a great album release year so far, ISLA, if entered, could finally secure it.

ISLA almost defies categorisation in that the guys have gathered inspiration from a variety of cultures and genres (not least jazz and classical). Their use of the percussive instrument, the hang, and great skill in being able to coax lyrical  ’vocal’ performances from their more conventional instruments has to be heard to be believed. But perhaps the group’s major achievement is to compose and perform music that vies with some of the world’s greatest contemporary composers, and yet is so accessible.

Opening track ‘Paper Scissors Stone’ is a wonderful example. Delicately plucked double bass and wandering piano notes introduce the song in such a way that one is anxiously waiting for what comes next. And what comes next is Jack Wylie’s soprano sax playing that weaves the most magical spell as it winds its way around the most subtle bass rhythm. These guys have an ear for a melody and through John Leckie’s expert production (of what is effectively a live one-take recording), the reproduction of a great song and performance is stunningly good.

‘The Visitor’ is a darker piece with an eerie opening and again the double bass playing a major part. The piano appears to play a rhythmic role here with the hang also playing an important part in providing an Eastern influence. Towards the end the sax soars and sings, drums improvise and the Hang bubbles away in the background as a major crescendo is finally reached before the song finally, quietly fades away.  ’Dawn Patrol’ offers even more adventure with superb percussion, drums, double bass and screaming sax eventually giving away to tumbling piano notes.  Hell, it’s so difficult to pick a favourite track here but this has to be one of the contenders…

Gamelan style sounds, courtesy of the hang, provide a long intro to ‘Line’, a song that creates an image of a pier stretching miles out into the see with seagulls soaring along it, and occasionally transversing from one side to the other. It’s a relentless, almost monotone sound with flashes of hang, sax and bass creating momentary respite. This reminds me of Steve Reich’s beguiling work, and is superb.

I could go on about the remaining brilliant (and often moving) songs and performances on this album - the diversity of sound and mood, etc. - but I would bore you with the endless wonder and praise I would heap on  these brilliant young musicians and their producer. But, I can sum the album up as one of the most important contemporary instrumental albums emenating from these shores for very many years. It’s therefore essential listening to anyone who takes their music seriously; a contemporary and accessible masterpiece; and one wonders just where and how far these guys will go… the mind boggles.

5/5

Studio Recording Photographs By York Tillyer