Each of the releases in this recent series feature identical coloring/design- with the duel laminated mini card gatefold taking in two large grey squares with white texts. Inside the gatefold we get a two page write up about the collaboration and each player use of sound. Not sure what the edition of this release/ this series is, but I’d guess it’s fairly limited- so if you did want to score a copy of this CD do it sooner than- later.
 
The two players here are Benedict Taylor, who plays Viola & Anton Mobin who tattles slightly electro touched prepared chamber. Taylor is a British improviser/avant musician who has been active in the scene since the early 2000s releasing a good body of work, as well as becoming a respected name. And Frenchman Mobin has once again been active since the early 2000’s making a name for himself as both an improviser & sound artists.
 
The seven tracks featured here each run between three & eight minutes each, and what we have here is creative-if-difficult improv- so this is very much a release for more seasoned fans of modern composition.
 
The album opens with “For A Old Man”- here we find a blend of dragged out 'n' blunt bass tone and sudden scrub-to-darting string work- the whole track creates a strange mix of farting drunken-ness & flitting tautness, which both feels playful-yet-uneasy. By track number four “Lay In Low” the haphazard blend of bass 'n' swirl has become even more pronounced, as we get slurred & cracking fumblings with electro hazed edging, been pitterred against a blend of rapid neck play & violent string slices 'n' whistles. On track number six “Love Song”(!) we get a mixture of on a pin-head like creaks ‘n’ drags, with wildly careering/ manic almost joyful & harmonic string play. The album finishes off with the decidedly busy “Clock Rider”- with it's mixture of long stretched electro bass tones, layers of scuttling & dragging junk like play, and touches of sea sewing string play.
 
Through-out each of this album seven pieces both Taylor and Mobin are really pushing both of their chosen sonic tools in weird & (mostly) wonderful directions. Sure at times, the compositions feel deliberately difficult - but mostly one's attention is held by the pairs creative playing/ interactions. If you enjoy your improv challenging, and at times on the cusp of noise I think you’ll find something to enjoy in  Close| Quarters, just don’t expect an easy ride.