Dead Rat Orchestra is actually a trio of UK musicians, who to my knowledge, are new to the recorded medium, but sound as comfortable with each other as the most polished ensembles operating within the folk improv realm. Dan Merrill, Robin Alderton, and Nathaniel Mann run through the same obsessions that have defined this sphere of musical expression for, perhaps, too long i.e. clattery, sometimes rhythmic percussion, electronic and organic drones, bowed strings, a few abrasive moments, and a love of all things minimal. But though their sound may fall into those loose parameters, their tactics seem to draw less on actual improvisation, but rather a free exploration of composed elements and melodic ideas. Coupled with the natural reverberations of the church and the ?so quiet you can hear a chair squeak? nature of the recording, the atmosphere of this CDR can feel outright nostalgic at times; a strong respect for their native folk tradition seems to be at the core of this set.

Take for example, the long, opening track. This piece moves through several different sections, which may actually be three different songs if the slashes have anything to say, that sound unique from one another yet gel perfectly as a single concerto. And if this indeed can be called a concerto, the violinist in the end, is the solo instrument that stands out most for me. Fortunately or not, the band doesn?t specify who plays what instrument so the player remains a mystery and all credit is given to the group who does an excellent job on all ends. But it?s the violin, emerging from the chilled silence after the squeals of unidentifiable wind instruments, that rises from the ether into a stately melody, soon becoming its own force buffered by a hard drum stomp, slightly tweaking the phrase with measured, skillful form. I was initially hesitant to like this piece, but repeated listens prove the skill and depth with which it was performed.

?Joy/Sorrow?, perhaps the strongest moment on this disc, leaves little doubt of the composed nature of this recording. A nicely accented drone from perhaps a chord organ is accompanied by a well-calculated mid-temp stomp and another amazingly beautiful violin solo that just made my morning. Ending with the same tinkling percussion in which the album began, the set feels less like a short run CDR of a rambling improvisation than a brilliant ?live? album in an age when that seems to be a quickly diminishing term.

?Tinderbox? and ?The Walrus Hunt? are both nice tracks as well, dealing in much the same sound as the aforementioned tracks, but, unfortunately, don?t leave as strong an impression. But all is well for this lovely little CDR, so Palimpsest can chalk up an early victory for their still young but quickly growing record concern. Though I can?t attest for the other work by this band or label, an album like this speaks to their appreciation for the unique yet accessible in the extremities of underground music. I know I?ll be in the market for future releases on both ends. 8/10 -- Kenneth Zubiate (24 July, 2007)