In the huge pile of stuff that keeps on reaching impressive heights on my desk, there was this 1-year old awesome output (it was released Polish label Bocian on 18th Nov 2016, but I think it should be possible to find it somewhere on internet or specialized music shops, even if this label drops only 300 copies of each item) by the hyperactive American improv musician and performer Fred Lonberg-Holm and the inventive Polish drummer and percussionist Adam Golebiewski. The CVs and the experiences of both musicians are really impressive: I already heard many Fred's collaborative outputs (particularly on FMR Records), but I discovered that great people of modern music like Morton Feldman, Anthony Braxton and Pauline Oliveros taught him something when he was a student yet and that he also collaborated with likewise appreciated contemporary musicians such as Rob Mazurek, Jim O' Rourke or Peter Brotzmann after a more attentive check of his artistic path; Adam is younger than Fred (he was born 22 years after Fred), but he can brag about a likewise respectable bunch of experiences in improvisational and free jazz scene (including some performances with iconic characters of experimental music such as Yoko Ono and the brilliant American guitarist Thurston Moore). Fred and Adam officially met on a stage in Poznan, in Germany, where they also recorded the four tracks of "Relephant" (recorded on 12th and 13th May 2013 at Club MDX Dragon). The artwork could describe the intricacy and the complexity of the dynamics they forged, featuring a wide set of overlapping frictions and abrasive collisions. A title like "Obviously in the room", but mainly the recipes of its sound (highly distorted and extremely fast bowing over fragments of percussive metallic patterns) could let you think the desperate research of a key to unlock a killing machine by some "player" of Jonathan Kramer aka the Jigsaw's cruel games of the popular horror film series. The shortest track of the fourtet, "Disguised", featues an almost robotic 3-tonal wick melody, repeated by noises getting harscher and harscher, a weird parenthesis preceding the 14-minutes lasting "Being Run Around Inside", the track which has something closer to a proper structure (overlapping with other improvised micro-structures) and where the listener can notice even a sort of gradually cathartic process, but the more surprising track for its concision, its intensity and the impressive way by which the sonic tools by Adam and Fred played symbiotically is maybe the final pne, "Meeting three blind people". Have a check.