'We Are Falling' CD Reviews
Interviews
'Inner Noise' CD Reviews
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Asaf Sirkis & the Inner Noise - We Are Falling - CD Reviews

City Life Magazine, October 2005
Asaf Sirkis & The Inner Noise have real presence, albeit a malevolent one. Sirkis is an Israeli-born drummer with enough muscle to power a thunderstorm, whilst Mike Outram, the guitarist with the Inner Noise, is an invigorating player. The dominant voice on We Are Falling (Konnex), however, is Steve Lodder's sombre church-like organ. The drama comes in the contrast between sepulchral chill (Lodder) and the forces of light (Outram), as Sirkis splinters the rhythm into jagged counter-patterns.
Mike Butler

Musician Magazine, September 2005
Drummer Asaf Sirkis composes and arranges all the tracks on this dreamy album. It is an experimental piece for a niche market, flirting with atonality and nearly-but-not-quite melodies that are skewed by unexpected twists and turns. All this to a backdrop of drums and nervous, skittering synths together with more challenging, unidentified sounds. Most intriguing.

Jazzwise, June 2005, three stars.
From its opening, spacey chords drifting over Sirkis' shimmering cymbal work, this is a mystically mysterious collection of musics with a range of well signposted influences, Messaien, Sun Ra, ahem, Keith Emerson, yet they've all been galvanised into something strangely strange yet oddly and most enjoyably accessible.
Sirkis' vividly articulate drums drive on all the pieces, but this is very much a band album - Lodder in particular, while creating a church organ effect (yet spookily skewing into something other) revels in the space, but perhaps under the influence of Sirkis' ferociously earnest compositions, he refrains from the quirky japes that can be irksome in his playing. Outram likewise is all discipline while exploring the nooks and crannies of Sirkis' dark materials: he summons the spirit of early Mccloughlin, notably on 'Life Itself' and the acoustic intro to 'Spirit', although this soon morphs into some bastard mutant The Nice-like rock climax where you can almost see Lodder leering from his key-board like some post-modern Phantom Of The Opera.
Of course, if the likes of Holdsworth floating worlds are not your cup of Tetley and Messiaen sounds to you like a three-years-old playing the melodica with a lolly stick, you may find We Are falling otiose rock opera of the dreariest and you may wish to avoid this shadowy part of the cosmos. Your loss, mind.
Andy Robson, Jazzwise, June 2005

Time Out Review, 'Short Cuts' section, june 2005
Powerhouse Israeli drummer Asaf Sirkis is best known for his work with Gilad Atzmon, but his trio charts a completely different path. While Atzmon is all post-Coltrane and Middle-Eastern bluster, Sirkis draws on Messiaen, Sun Ra and Allan Holdsworth to create an intense, spacey internalised take on the legacy of Tony Williams' seminal power trio, Lifetime. With Steve Lodder on organ and guitarist Mike Outram, they create powerful, dark soundwashes and charning prog-jazz grooves that take the listener on a journey to outer and inner space.
Kerstan Mackness, Time-Out cd review ('Short cuts'), June 2005

Jazz Views Review, Issue 038 - July 2005
This is the second outing on disc for Asaf Sirkis trio The Inner Noise, although this time around dispensing with the massive church organ in favour of Lodder's set up of keyboards. The practicality of the number of available venues with the a suitable organ may have had a hand in making this decision, although this does also have an impact how the trio have changed (albeit it in a subtle way) their approach to the music. Gone is the overall impact of the impressive church organ that dominated the first album to be replaced with more of an even group dynamic. This in turn has allowed Sirkis to take a different view of how to compose for the band, and develop his not inconsiderable writing skills further.

As the title would suggest, We Are Falling has an other worldy-ness theme to it, from the pictures of asteroids Ida and Dactyl on the CD cover, and also in titles such as 'Galactic Citizen' and 'Another Being'; but make no mistake, the music on this hugely enjoyable able is far from an essay in spacey chords and electronic noodling that others have tried to pass off under such an all embracing concept. The compositions on the album show a wide variety of timbral variation and demonstrate the individual talents of all concerned in a way that firmly places the music above all else, that manifest itself in a true group performance.

Although the church organ is not in use on this outing, Steve Lodder's keyboard set-up utilises a bass pedal similar to that used on the large instrument that allowed the penetrating bass lines that powered along the first album to such effect, and he uses this to create the recurring bass riff throughout 'Life Itself', and is also able to generate the full organ sound for the sweeping title track, 'We Are Falling'. It is Lodder's intuitive and creative use of the electronic keyboards (that he has demontrated in other contexts such as with his work with saxophonist, Andy Sheppard) that give the band a new found release and sonic palette to work with.

The albums with a gentle and lyrical piece with 'Another Being' with Outram's melodic and simply stated guitar is fleshed out by Lodder's keyboards and an increasingly complex commentary from the leader's drums. This is controlled and passionate music that gets the CD off to a fine start that is maintained throughout. The bass pedals that are added to the keyboard set up are then used to maximum effect in 'Life Itself', which is again powered along by some creative stick work from Sirkis,and Mike Outram's guitar gets a thorough outing utilising a more rock influenced sound that sits comfortably with Asaf's probing accompaniment.

Steve Lodder's keyboards again come into their own on the broad sweeping sound that is 'We Are Falling', with the church organ sound from the first album recreated; and Steve also gets to demontrate his remarkable touch at the piano on the 'Ida & Dactyl (& Ghost Of Dactyl)' that gives ample notice of the scope of the trio and sounds that are open to further investigation both live and on future albums with a seamless blend of electronic and acoustic instruments. This point is also reaffirmed on 'Spirit' that has some fine acoustic guitar from Outram.

All in all another fine album from Asaf Sirkis that places him firmly amongst the UK's hottest properties not just just as one of the musical drummers, but also a composer and bandleader of some. It is therefore with eager anticipation, that I look forward to continue following the career of this most enterprising and imaginative of musicians.
Nick Lea, Jazz Views web-site, July 2005

Progressive Ears on-line magazine, Epilepticgibbon, 9/7/2005
The lines between prog and jazz rock fusion are rather blurred. There are lots of acts who straddle that line, but none quite so finely as Asaf Sirkis, or at least that seems to be the case when he's working alongside his Inner Noise project. Sirkis is pretty well known and well respected in jazz circles (which may explain why I'd never heard of him before this album) as the drummer for Gilad Atzmon's Orient House Ensemble. He's known as something of a powerhouse on the drums, something which he regularly displays on this album, but he's also a composer and he shows off his compositions on this, his second album with his Inner Noise trio (which includes keyboardist Steve Lodder and guitarist Mike Outram).

The album's title, the cover art work (which features an asteroid), a quote from Sun Ra, and the titles of some of the tracks might lead you to think that the music is going to be spaced-out jazz but no, this is jazz rock fusion with a strong prog rock feel to it, with influences that could be King Crimson, Keith Emerson, National Health, Brand X and Allan Holdsworth… and with influences like that you won't hear me complaining.

In another review, of the album by Polish group Robotobibok, I defined a new sub-genre, exorcist jazz; well, this may not quite be exorcist jazz but it comes close – apocalyptic prog jazz might be a more appropriate term, particularly with those eerie church organ style keyboards (apparently on the first Inner Noise album a church organ was actually used but here Lodder utilises a midi keyboard that provides a similar effect). This is dark instrumental music, but it doesn't consist entirely of relentless soloing and pointless noodling… far from it in fact, the compositions and the musicianship are tight, lyrical and energetic.

The three musicians work very well together and this means there's real cohesion and a strongly organic element to the sound of the album. But there are solos and when they do happen they show off the invention of the writing and the skill of the performers. These solos, and the musicianship in general, are highly proficient, sometimes even showy, but never at the expense of the pieces of music. Outram particularly impresses on guitar, though there's no doubt that Sirkis and Lodder are ably supporting him throughout, acting as the glue that holds everything together.

Track 1, “Another Being”, reminds me of King Crimson… not that it sounds like any particular Crimson track but the vaguely Fripp-like guitar, the gothic keyboards and the organic percussion give it that feel.

I mentioned Robotobibok earlier, well track 2, “Life Itself”, comes closest to sounding like them. I'd be interested to know if the two bands have heard each other because although their general sounds are quite far apart, on this track they're remarkably similar. I think it's that fat analogue keyboard sound, combined with the busy, dark, frenzied and complex nature of this track. I could do with a bit of a lie down after this track, to be honest, but I mean that in a good way!

Track 3, “Galactic Citizen (part 1)”, is a fairly short (nearly three minute long) keyboardy introduction to the second part and strikes me as the only 'filler' track on an album that is otherwise timed perfectly. But the second part of “Galactic Citizen”, picking up where the first part takes off, develops in much more interesting directions.

The title track is probably my absolute favourite on the album, which is perhaps not surprising given that it's probably the most obviously prog rock-like, and really wouldn't sound out of place on a National Health album. Outram's guitar is particularly prominent and he gives an amazing solo which leads me to take my air guitar out of the cupboard every time I hear it, but there's also an equally impressive keyboard solo, and the whole piece just drips with apocalyptic energy and quality.

Track 6, “The Bottomless Pit Surrounding You”, is another short, atmospheric bridging piece but it's much less of a filler than “Galactic Citizen (part 1)” seemed to be.

Track 7, “Spirit”, starts with fine acoustic, almost classical guitar from Outram that fans of Steve Hackett would be comfortable with, but it soon explodes into an Emerson, Lake and Palmer style freak out, which you've just gotta love (well, if you like that sort of thing and I certainly do!).

And the album ends with the track “Ida & Dactyl (& ghost of dactyl)”, which I believe are the names of asteroids. This is a nice way to end the album, a dreamy piano-filled piece that is beautiful and soothing, particularly after the impact of the previous track. Oh, yeah, there's a tiny bit of synthesizer at the end of the album, a sort of noodling extra track, which doesn't have a title and serves no real purpose, but it's not unpleasant either.

So is it jazz, jazz rock fusion, prog rock, or apocalyptic prog jazz? Well, it's all four and none of them really. The labels don't matter, except as a general point of guidance. Crucially, this is an excellently performed and entertainingly inventive 21st Century spin on some old genres, and if you have even the slightest enthusiasm for any of those genres then you're gonna love this. I'm gonna get my air guitar out and listen to We Are Falling again…

Best tracks: “Another Being”, “Galactic Citizen (part 2)”, “We Are Falling”, “Spirit”, “Ida & Dactyl (& ghost of dactyl)”.
Ian Fairhorn, Progressive Ears, 7/9/2005

The Handstand, November 2005
The composer and drummer Asaf Sirkis was born in Israel in 1969. and it was there that he established his solo career. He recorded his first solo album "One Step Closer" in 1995, playing his own compositions with the "Asaf Sirkis Trio". He later developed his "Inner-Noise" project in Israel, 1997-98, but revived it after he had relocated to Britain in 1999.

The first "Inner Noise" album was recorded using a real church organ at St. Michael's church Highgate in March 2003 and was received as something fairly innovative and unusual. Sirkis, who cites Olivier Messiaen's organ music as a major influence, composed music that was not that easy to categorise into a general jazz context. His latest album "We are Falling" follows on and continues in a similar vein, also using the same line up of musicians: Asaf Sirkis on drums, Steve Lodder on keyboards and Mike Outram on guitar.

An important difference is that Lodder uses a special keyboard, fitted with base pedals similar to those of a church organ, which makes it easier to tour and play as a group. The sustaining power of the organ within the context of jazz, creates a sound that is very unique. The project distances itself from having a purely "jazz" identity and the classical music and rock influences are apparent.

Sirkis is quoted by Nick Lea of Jazzviews as saying: "the essence of music or non-identity in it is most interesting for me. Not the language or the style.What I'd like to point out through music is utterly simple - I am a human being and it is only when identity stops can music begin (Jazzviews, July 2005).

When I picked up "We are Falling" for first time, I was taken with an image of asteroids printed on the front cover with an accompanying quote by Sun Ra: "This music is about another to-morrow, another kind of language .speaking things of blackness about the void, the endless void, the bottomless pit surrounding you." My first impression was reinforced by initial feelings about the music. The opening track "Another Being" reminded me of Bach's prelude in F minor, which is used at the beginning of the classic science film "Solaris". The film, created by a Russian film director Tarkovsky, is often compared to Stanley Kubrick's "2001 AD," but it is a more intense psychological journey, presenting an inward looking analysis of human nature.
The final track "Ida & Dactyl" reminded me of the end of the film, where we are presented with an image of an island in the ocean of Solaris, which seems like an endless void beyond worldly reality. Sirkis' compositions made me think of Tarkovsky's frequent references to moving water. The music, like moving water, embodies the principle of change, but also affirms the idea of a repeating cycle.

In "Another Being" there are recurring motifs, evocative of ostinato, which provide unifying repetition. These are supported by the very low, harmonic, tones, supplied by the bass pedal, which project the music forward into space. This procedure is reminiscent of techniques used by minimalist composers like Terry Riley, Steve Reich, Philip Glass and John Adams, who experimented with tape loops and recurring fragments of melody. However, Sirkis' music is more rhythmically flexible, which gives a more open-ended impression of continuous motion. The influence of Messiaen's music is strong, and I noticed a parallel in Sirkis' music to "Quartet for the End of Time," which, coincidently, I was listening to at that time. Messiaen wrote the following forward to his work: "Modes, which produce a kind of tonal ubiquity in harmonic and melodic terms, bring the listener closer to eternity in space, to infinity. Special rhythms without any specific time signature play a powerful role in taking the listener away from the temporal sphere" This distance between the temporal and the spatial is apparent in "Galactic Citizen." The first of the two pieces combines repeating motives with melodically and rhythmically freer musical lines. This is like Messiaen's "Liturgy of Crystal, which is a combination of a harmonic modal procedure and flexible additive and non-retrogradable rhythms. I felt a similarity between the sustaining bass tones of "Galactic Citizen" and Messiaen's harmonic chordal succession - a backdrop for a modal melodic cycle that exists independently. These two elements have a point of reference at which they converge, but it is not musically punctuated in a traditional sense. It gives an effect of forever pulling the music into infinity, because once we have reached the end of a cycle we begin again on the same journey. At the end of "We are Falling," we have reached the end of a cycle with Ida & Dactyl. This piece reminds me of Messiaen's "In praise of the immortality of Jesus," which elaborates a lyrical violin line over a series of cyclic chords.

In Ida & Dactyl, Mike Outram's expressive guitar playing is accompanied by long, deep bass tones. This is intensified in the second part of the track into some of the best jazz music on the album. Steve Lodder elaborates with an excellent piano solo, played in tandem with the drums, which builds up a fabulous climax. After a long silence, the music comes back with a meandering melodic line that is briefly cut short on one final long tone that just hangs, indicating the end, but without the musical completion that we are normally used to.

The pace is stepped up on the faster tracks on the album, such as "Life Itself," which is a far more rock oriented sound. Similarly, "We are falling" also provides an opportunity for an even more intense relentless style of drumming and virtuoso solo guitar playing. This reminds me of the playing of Jimi Hendrix, Miles Davis, and more recently, the work of Nguyên Lê. These faster tracks provide opportunities for virtuosity of playing and jazz solos that intersperse the slower material giving a kinetic overall sense of musical form. They tend to draw the music on to a level that is much more formidable and energetic.

The level of musicianship on the album is very high as the group play in a very cohesive and complimentary manner. Sirkis's drumming varies from an expressive subtlety on the slow tracks, which is maximised by timbral use of cymbals, to the tight relentless virtuosity of the faster pieces. I think that "We are Falling" is of real attraction to listeners who are interested in new sounds and the fusion of musical styles. It is a definite magnet for an audience wanting to expand their musical experience beyond the limitations of style, and it is an album that suits the individuality of modern musical taste.
Rory Braddell, October 2005

Guardian review, John Fordham
... ''an attractive luxuriousness of texture, some sensational drumming and inventive soloing... Great playing from three contemporary performers at the upper-edge of the game''...
John Fordham, The Guardian Friday CD Review, June 2005

BBC Magazine Review
... ''fuelled fusion fun of the best kind, delivered without pretension and bursting with energy''.
Peter Marsh, BBC Magazine, June 2005

O's Place Jazz Newsletter
O's Notes: We Are Falling is a rather different take, purposely so. Drummer Asaf Sirkis seeks to let the music speak, entering a space that has yet to be explored. The music has more structure than free jazz yet is similarly eclectic. Sirkis also plays keyboards and Steve Ladder (keyboards) and Mike Outram (g) make up his band, Inner Noise. The music is kind of eerie and spacey - the songs are appropriately titled - “Another Being”, “Galactic Citizen” and “The Bottomless Pit Surrounding You” are examples. This will appeal to selected audiences.
Oscar Groomes, November 2005

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Interviews

Andy Robson interviews Asaf Sirkis (Jazzwise, June 2005) - Taking Off

The fall guy
Best known as a member of Gilad Atzmon’s Orient House Ensemble, drummer Asaf Sirkis is breaking out as a leader with a second solo outing this month. Interview: Andy Robson

“Not a lot of jazz clubs have a church organ,” says Asaf Sirkis about the change of direction on his new trio album We Are Falling. “I really liked the music on our first album, Inner Noise [also the trio’s name] but as we recorded it on the organ at Highgate church it was kind of hard to play live.” No such problems second time around for the drummer who was born in Israel but lives in the UK.
“Steve Lodder used a special midi keyboard and the sound is very different, although it still has that organ feel. But perhaps the biggest difference for us when we play is that we can see each other now! That opens up routes of communication, which is kind of important to what this music is all about”
But what is Sirkis’ composing all about as represented by the trio of himself on often pile driving drums, Steve Lodder on keyboards and Mike Outram on guitar? It’s big, often loud, spacious and spacy music, gossamer light one moment, sweatily visceral the next. Critics have drawn comparisons with Tony Williams’ Lifetime but somehow it’s more Sun Ra-meets-The Nice-meets-Messaien-meets-Allan Holdsworth.
It has also bought Sirkis the backhanded compliment from one jazz journalist that he has “the ear of a composer, not a drummer,” as though somehow drummers can’t be composers. Sirkis laughs quietly at the absurdity, but recognises that the stereotype of drummers slogging away in the engine room while suffering the band’s worst jokes still runs deep.
But then Sirkis isn’t keen on stereotypes in general. Indeed, he reacts gently but firmly against the whole notion of identity, the naming process that he feels limits imagination and spirit, whether the subject is music or people or politics. Even to use the J word is dangerous.
“Jazz is a dangerous word, music cannot be defined. The people who make timeless music – Miles, Monk – did not think in those terms. Only later did people call it jazz. To give it a name made it comfortable meant it could be put safely in a drawer. But those definitions were not made by musicians. Those terms bounce back on the musicians who feel they must be a ‘jazz’ drummer or a ‘rock’ drummer. And of course when you say you are one thing, you cannot be the other”
For Sirkis, who grew up in Israel and only left to settle in the UK six years ago, the question of identity is not just an intellectual conundrum. It can be a matter of life or death.
“The idea of identity is rising here [Sirkis is referring to the immigration debate during the recent general election campaign] because it is a tool of people with power. They need an enemy. So if I am identified as an Israeli, by definition it is easy to identify a Palestinian. But take away the identity, where is the enemy? I did my national service for three years, and they wanted to put me in a combat unit. I didn’t have the guts to do what many musicians did, and get a piece of paper from a psychiatrist saying I was mad. You have to prove you’re mad to get out of doing something that is totally crazy!”
Luckily Sirkis was only forced into clerical duties, but national service was still “a complete waste of three years”. Afterward he spent the best part of eight years trying to find outlets for his creativity “but it often meant playing Jewish weddings five nights a week.” So the West beckoned as it did for many of his contemporaries.
But after relatively unhappy times in mainland Europe, Sirkis followed his wife to London and was amazed by the welcome he received from the capital’s music community. In his first week he met saxophonist Gilad Atzmon, but he rapidly found work in a range of different musics, collaborating with the likes of Julian Siegel, Gary Husband and Tim Garland. Although the first couple of years were not ‘easy’ for Sirkis, “lots of taking my drum kit home on the night bus”, he revelled in a scene that was open, energetic and refreshingly without prejudice.
For those who are quick to trash the British scene as parochial or newcomers as unwanted, then the words of a man who has travelled far in miles and spirit need to be heeded. “I was blown away when I came to London. Even in places like Holland and Paris, their kind of small, closed scene is not accepting to foreigners. You had to have time and money to make it. Sure, London is expensive but if you are good, and can communicate, it is all there and it will come to you eventually.”
Ironically, the work which has made Sirkis one of the most wanted of drummers has meant that his “vision is remote from the music I often do. Most musicians have an agenda, something to say but I try to compose music with the minimal ideas possible. I like this record because it has 60 per cent less ideas than the last one!”
The less generous may suggest few musicians have any idea about what they’re playing, but there is a serious underpinning to Sirkis’ quest for music that is free of thought and intellectual intention.

He openly recognises the influences behind the trio’s music
“Messiaen and Allan Holdsworth may seem different but aren’t really in spirit,” he says, only half joking
“If I must ‘stand for’ something, then the core of what I do is idea-less music: where the ideas end that is where the music begins. That is why Sun Ra is so important to me, his poetry as well as his music. He says that music is all about that bottomless pit; it’s like, ‘Oh, my God, there is nothing here, we’re just falling’”
Andy Robson, Jazzwise, June 2005

Keeping The Spirit Moving, Interview with Nick Lea, Jazz Views web-site, July 2005
Drummer, bandleader and composer, Asaf Sirkis, has some strong opinions on how jazz is defined, and the limitations that this can potentially inflict on musicians and listeners alike. He explains all to NickLea.
Over the last five years, drummer, Asaf Sirkis has steadily built a reputation not simply as one of the finest on the UK scene but also has one of the most versatile and adventurous. Whether playing in a straight ahead combo, steering Gilad Atzmon’s Orient House Ensemble, or driving his own trio Inner Noise he brings a commitment and musicality to his playing that transcends simple categorisation. Sirkis has strong views on the music that he plays, and when interviewed was always willing to most eloquently and intelligently to share his opinions in a manner that is as compelling to listen to as his playing. So how did the story begin?

“There was always music at home“ explained Asaf. “My father would put on lots of classical music, and my brother was playing the piano and later he became an Opera singer. When I was ten I really wanted to play bass guitar but some guy in the music conservatory told me that I’ll have to study classical guitar for 4 years before I can get my hands on a bass…weird isn’t it? That wasn’t good because I was in a hurry!! Then gradually I started hitting things around the house as if they were drums. A year later my dad bought me a drum kit and I started taking drum lessons and 2 months later I was playing in school bands.” Even at this early stage Asaf was committed to playing music wherever and whenever possible, as he recalls “It was a great time! I was in a few bands and we used to hang out all weekends, play and record each others music on cassettes… that’s how I got into what you can call jazz.”

However, as well as jazz, Sirkis had a healthy interest in many other types of music which remains intact to this day. “Oh definitely, as a kid I really liked the Mussorgsky, Beatles, Police, then I got in to Yes, Genesis, Weather Report, Allan Holdsworth, Mahavishnu Orchestra, Olivier Messiaen, John Coltrane“ he says enthusiastically. “And as time has elapsed you can add guitarists John Scofield, John McLaughlin and Terje Rypdal, along with Sun Ra, Maurisce Durufle and Bach who have all influenced my playing.” What, no drummers, I enquire? “Of course” laughs Asaf “where do I start? Well there’s Jack DeJohnette, Tony Williams and in this country Gary Husband.”

In his formative years in Israel, Asaf continued his musical studies also finding time to play in as many bands as possible, and as is the case for musicians all over the world, trying to make a living. As has become his wont, he did not just confinie himself to any one musical genre although jazz did play a part in his musical activities at this time. “Jazz is in an odd word” explains the drummer, “I think that the way this word is understood here very differently than in Israel. I was always interested in any kind of creative music but yes, I guess I can say that I was playing some Jazz related musics.
But actually, most of the time in Israel I spent trying to make a living playing in weddings, klezmer or folk bands – there was no way I could survive playing only the music I wanted to play and it was only when I came to London that I started to play ‘Jazz’ as ‘we’ understand it, professionally.”

“There was a jazz scene happening in Israel” continues Asaf. Whether it was healthy or nor is another matter altogether. It was healthy in the sense that you had to be really determined and to work hard to get something going. Those people I use to play with in Israel like Harold Rubin and Albert Beger are my heroes; they never stopped, always created something else despite the intolerant environment. You could hear that extreme determination and faith in their music. I think that’s part of the reason why the emphasis in Israel is on the expressive/emotional factor rather than the language thing. There is a strong sense of urgency in everything.”

Despite the inherent difficulties in playing the music he loved in his native country, it was in Israel that he recorded his first album as leader, and also formed the first edition of the Inner Noise'.

“Yes, I recorded a piano trio album called One Step Closer. The strange thing was that immediately after we recorded the album I woke up the next morning and felt as if somebody else had woken up, a completely different person.…it was then that I started writing music for the church organ. I was hearing a lot of Messiaen’s Organ music at the time. Then I thought it would be good to have guitar and drums in it too – guitar is one of my favourite instruments! But where do you find a church organ in Israel? – I don’t know!! The first Inner Noise band in Israel was a quartet with bass, drums, guitar & keyboards. We did few gigs all of which where a complete disaster – we played one night in this arts centre, the room was well attended and after the first song has finished there was nobody there! On another occasion the police were trying to stop us from playing in the middle of a gig.”

asaf4This frustration in finding not just the opportunity to play, but to play the music he loved with such a negative reaction was one of the reasons that Asaf decided a move was necessary. As Asaf recalls “I left Israel mainly because I couldn’t find how to play my music or the music I liked to play and make a living… also because of the general atmosphere in Israel which I found not very tolerant. Serving in the Israeli army for 3 years didn’t get my music anywhere either.

In 1998 I left with Gabriela (my wife) and moved to Holland and stayed there for a bit, and then went to France (Paris) for a few months and finally to London (April 99). It was a time of many changes; it was great to start all over again – to be no one. I learned so much from that.”

“Upon moving to London the plan was to get a band of my own and start gigging with it at some stage. I was sure from the very start that London would be a good place for me. When I came here for a visit previously I was blown away by the amount of music and gigs going on! One day I was walking in Hyde Park when I saw these weird radical people shouting religious texts passionately. I thought – WOW!! That is it!! But the first two years or so in London where tough, I didn’t have a car so I had to carry the drums on tubes and busses but gigs started to come in, I bought a car and gradually I was able to live more comfortably.”

For the last five years Asaf has been seen across the UK and Europe touring with Gilad Atzmon’s Orient House Ensemble. An exciting band with which Atzmon has used to great personal effect in getting across his unique vision of jazz and 20th century music, Gilad has also done much to introduce UK audiences to a wide cross section of musical dialects and styles. I asked Asaf if this was very much the way that he approached his own music, utilising music from his own cultural heritage with jazz and western classical music? “The essence of music or the non-identity in it is the most interesting for me. Not the language or the style. Yes, I do have my influences and I did grow up in Israel but I never felt a need to introduce that to people as I never really felt as if I’m part of that. Really, I do not see myself as an ‘Israeli’, ‘Middle Eastern’, ‘jazz drummer’, etc… What I’d like to point out through music is utterly simple - I am a human being and it is only when Identity stops that music can begin.”

And it is this overall concept that has driven Sirkis to reform the Inner Noise in the UK with keyboad player, Steve Lodder and guitarist Mike Outram. In full flow this band must generate some excitement live, and suggested to Asaf that probably raised a few eye brows in using the church organ in the way they did on the debut CD. Asaf laughs “Yes, eye brows where risen. I like that album (‘Inner Noise’); I still listen to it from time to time. It was difficult to find venues that had a church organ to play that music. We did one gig at St. Cypriot’s church in London which was great!! And perhaps we’ll do some more church gigs in the future but realistically what happens is that Steve is using a special keyboard set-up with bass pedals (church organ like). We ended up doing that on almost all the gigs.”

fallingThe use of the keyboards is also evident on the bands new album, We Are Falling which is released this month. “After playing like that for a while we kind of got a sound together and then I thought – this is it!” explains Asaf “This is how we approached the new album as well. I thought ‘Let’s do it as if we’re playing live!’, and I’m really happy we did that – it really captures our live sound.

“As far as the compositions go, the first album is a kind of scream; the music was composed in Israel. I was young and angry. Recording that music was like trying to build a big wall of sound and smashing it at the same time…I think that in the new CD there is a reduction of concepts and ideas, there is more peace in it and the result is more organic. It’s more of a band album.”

So with the release of We Are Falling is this a the beginning of a new stage in the drummers career, moving more into the limlight to take care of business and lead his own band on a permanent basis? “Yes - it’s always so great to play with Steve and Mike. They are such great and inspired musicians. Steve is one of the most unique and natural musician I ever played with, he is a true improviser! And Mike is such a powerful guitarist, his understanding of the music is so deep! This forthcoming tour to promote the CD is just wonderful for me! And I’d like to do that more and more. I’d like to bring this band to the centre of my work and to dedicate more time for getting it there. I’ve also started writing some new music now…lets see where that takes us…
Nick Lea, July 2005, Copyright © 2002-2005 Jazzviews

Interview, Jazz East Magazine
Asaf Sirkis is a great young Israeli drummer who, since his arrival in Britain in April 1999, has began to make major waves on British jazz scene. You may have seen him all ready in Cambridge with sax wizard, Gilad Atzmon – a fellow Israeli – and the latter's middle eastern - influenced Orient House Ensemble earlier this year. You may also have caught him further afield playing with Irish vocalist Christine Tobin. Brit – sax star Martin Speak and drummer and pianist Gary Husband, amongst many others, over the past two years. Asaf's now being here long enough to feel sufficiently confident to try out his own thing. Inner Noise, his trio, is the result. Intriguing prospect it is too.

Formed last year, the band comprises drums, keyboards and guitar, with the drums full on and centre staged. Steve Lodder's atmospheric church organ sound gives the music a highly atmospheric feel, toped off by Mike Outram's sweeping guitar. What's behind the music? '
'We're very much influenced by a lot of modern classical organ works,(Durufle, Messaien), and by some of the big progressive rock bands of the 1970's, such as Yes and Emerson Lake and Palmer', Asaf explains. Certainly the rock- classical influence is to the fore on the bands demos. So, is it jazz? 'It's certainly with jazz context', Asaf states. All three musicians are well- loved jazzers in their own right. Aside from Asaf, Lodder was last seen here with Monica Vasconcelos's Noise, last autumn; Outram is regular with Dave O'higgins's band, amongst others.

But there's even greater diversity in the melting pot. Asaf's own ethnic background has a strong bearing on the music. Growing up in a small town south of Tel Aviv, he was exposed to a whole host of classical Arabic sounds, influences which also affect the overall musical structure. This Arabic influence has cemented by working with top classical Palestinian musicians shortly before he left Israel. In other words expect jazz mixed with classical organ mixed with prog- rock mixed with Middle Eastern sounds. A real boundary pusher, musically.
Why did he come to England? The deteriorating political situation was certainly a factor. Asaf explains: 'One of the first things that suffers in that environment is art and most of all jazz'. Than there was a lack of work opportunities for modern jazz musicians in Israel,' I couldn't find places to play apart from the occasional Jewish weddings', he states. Finally there was the draw- factor of coming to play with many of the musicians he most admires. Bill Bruford, Alan Holdsworth, Gary Husband- all were major influences.

It's a tribute to the open mindedness of British jazz musicians that Asaf's received a very warm welcome. 'I've been really fortunate', he states. 'It's a good vibe here'.
Dan Somogyi, Jazz East Magazine, August 2001, UK

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Asaf Sirkis & the Inner Noise - 'Inner Noise' - CD reviews

Renaissance Man CD Review

Inner Noise - Epic Fusion For The 21st Century
Asaf Sirkis, the world class drum phenomenon reminiscent of Jack DeJohnette and Tony Williams at the height of their powers that's taken the British scene by storm over the last few years, is perhaps best known as the engine of the rhythm section of the equally phenomenal Gilad Atzmon & The Orient House Ensemble (and the Gilad Atzmon Quartet). The recently released album "Inner Noise" features the UK's leading drummer with his own trio, Asaf Sirkis & The Inner Noise.

Originally partially commissioned by the Department of Arts of the Tel Aviv City Council, Sirkis' "Inner Noise" project was performed around Israel in 1997 to 1998 prior to his moving to the UK. Since moving to Britain in 1999, Asaf Sirkis has re-formed his Inner Noise trio with organist/keyboardist Steve Lodder and guitarist Mike Outram. "Inner Noise", Sirkis' second solo album was recorded in March 2002 at St. Michael's Church in Highgate, North London, and released in 2003 on Konnex Records. Asaf Sirkis & The Inner Noise are about as far as you can get from a conventional organ trio, not only featuring as it does full-blown church organ rather than the traditional Hammond B3, but moreover, playing music on a truly epic, even monumental scale.

First impressions of "Inner Noise" might recall Miles Davis and the Bitches' Brew project and John McLaughlin's Mahavishnu Orchestra in its first incarnation, as well as prog rock bands Emerson, Lake and Palmer and Yes (though without the remotest hint of the latter's near-plagiarism). But such comparisons could never do this album proper justice, for it goes far beyond any of these yet maintains a far greater accessibility than Davis' and McLaughlin's brands of fusion. While all these are certainly influences, "Inner Noise" also shows clear influences of modern classical organ composers, in particular Olivier Messiaen, as well as of Arabic classical music. Sirkis gives all three instruments broadly equal importance and sculpts a vast soundscape of monumental proportions, employing strong, rich textures as well as delicate, transparent ones as appropriate, and making fullest use of the rich palette available to him, both in terms of the overall instrumental colours and the colours of his own trap set. His drumming is as brilliantly virtuosic and inventive as has indeed become his trademark, combining subtlety and sheer effervescent exuberance, even ecstasy, and while running a tight ship, Sirkis also gives his fellow band members plenty of space where appropriate. Lodder's and Outram's playing complements the master drummer's perfectly, with both superb ensemble playing and outstanding soloing.

The result is an album that is utterly absorbing and compelling and reveals Sirkis as a very formidable composer and arranger indeed. "Inner Noise" doesn't just push boundaries, it completely transcends them and thus defies categorisation. To describe it as a fusion of jazz, classical and progressive rock would tell only half the story. You could file "Inner Noise" under any of these genres, but you'll never confine it, any more than you could define it. One previous reviewer suggested the label "Gothic Jazz", a horrific oversimplification in my opinion if not a downright abomination. Far better to focus on just enjoying the experience that Asaf Sirkis & The Inner Noise provide with this most remarkable and intense album.

The opener, "Lucidity", is in many respects the track most reminiscent of Mahavishnu, but where the latter frequently lost themselves Asaf Sirkis & The Inner Noise never lose sight of the final destination. The tight reign Sirkis keeps and the flowing, high-energy improvs make for a powerful combination that gets things on the boil straight off. "Three Ways" starts off reflectively and somewhat tentatively before turning into an intense guitar-driven exploration. True to its title, "Hope" is mainly pervaded by optimism albeit with somewhat "gothic" touches in the organ here and there that are reminiscent at once of Bach's (greater) Toccata and Fugue in D Minor and of Messiaen generally. The guitar work often reminds of Carlos Santana in his jazziest period in the early 1970s, with strong Coltranean touches. On "Floating", a meditative piece, a high guitar gently floats above a mainly subdued, almost drone-like organ and Sirkis' imaginative, sensitive trap work. The title track, "Inner Noise", features some of the most intense improvs and builds up formidable tension that is only resolved in the final lighter organ chords. "Desert Vision" is perhaps the most balladic of the pieces, calm, quiet, almost laid-back if it weren't for an almost tangible feeling of desolation in the wide open sound spaces. Organ and guitar are also given considerable space on "The Only Way", the intensity building up progressively to a near-climactic conclusion. The balladic "Questions" is again more meditative, and quite delicate. "White Elephant" provides the high-intensity closer, very considered, deliberate drumming framing an increasingly impassioned organ and driving guitar, only to temporarily drop into a reflective, quiet interlude that further underscores the leviathan nature and proportions of this composition as it continues to unfold to its inevitable climax.

Asaf Sirkis & The Inner Noise boldly go where fusion only hesitantly put out the odd foot before, and where prog rock could at best dream of going had it dared to. The music is vibrant, vital, exciting and fresh and even manages to surprise. One of these surprises is its wonderful accessibility and immediacy. "Inner Noise" has to be essential in any modern jazz and modern classical collection at the very least. Grab the original issue while you can as it's almost guaranteed to become a prized collectible.
© 2004 Renaissance Man/Rainlore (All rights reserved), February 2004, UK

Jazz Review, Canada, September 2005
Inner Noise contains many surprises along with interesting compositions from Israeli born drummer Asaf Sirkis. Utilizing a style of writing that allows for contributions from this well thought out trio. Everyone has an opportunity to stretch out and share ideas. St. Michael's church in Highgate, London is the perfect location for the trio to perform. With it's natural ambiance, The trio sounds right at home.

"Lucidity" is an intense piece featuring Outam's captivating guitar. Playing with notes as if they were silly putty, Outram delves deep into the melody with searing abandon. Lodder's classical sounding organ adds a haunting flavor to the mix.

Lodder and Outram's stirring intro to "Hope" continues throughout with Lodder's powerful organ leading the way. Outram works his magic weaving in and out of the melody with confidence. Cascading notes emerge from Lodder in such a way as to invoke a religious dimension. Sirkis's drumming keeps everyone on track.

A spine chilling intro from Lodder on "Desert Vision" creates an eerie canvas for the rest of the group to work from. Carefully played cymbals along with sporadic guitar create a somewhat uneasy sound. Underlying this sound is a subtle beauty that offers many rewards to the listener. Upon careful examination, possibilities emerge.

"Questions" continues to haunt with creative expression and focus. Lodder's heavy use of the pedals adds a certain heaviness that can work well in an acoustically rich church setting.

Although many might consider this session to be somewhat unorthodox, the trio is able to work with Sirkis's compositions on many levels. Intensity, depth and commitment are three words that best describe Inner Noise. After one listen, you get a sense that you are somehow spiritually renewed, and that in a world of tribulation, there is still hope and longing for better things to come.
Randy McElligott, Jazz Review, Canada, 15/9/2005

The Jazz Organ Archive web Site CD review
"Inner Noise", a composition of the Israeli drummer Asaf Sirkis living in Great Britain, is performed by a trio which at the first glance looks like a typical organ trio. But when listening to the music of this CD you will experience a great difference to what you could have assumed.
The church organ gives the composition its own character: The mighty sound expands a wide aerea of harmonies which remind us modern classic organ music such as of Olivier Messiaen. Steve Lodder uses the instrument with full work nearly throughout the total composition. Only in the songs "Desert Vision" and "Questions" Steve plays with low voices, almost tenderly and contemplatively.
Sirkis grants each of the instruments its own room, so the organ is not dominant at all. The guitar fills the foreground with rocky figures and a slightly distorted sound, which lets you feel the rock sound of the late 60's. The drums play an original part really brilliantly.
Remains the question of the kind of music: Is it bop, rock, fusion, modern jazz or what else? It is difficult to answer this question, as Sirkis' intense music seems to contain elements of different kinds, nonetheless creating a style of its own, influenced by his Middle East roots.
Juergen Wolf, The Organ Archive web-site, March 2004, Germany

CD review from Jazz Views web site
So what do we have here then, an organ trio with a difference, and yes you did read it correctly Steve Lodder does indeed play church organ. Recorded at St Michael’s Church in Highgate, London this unusual and absorbing album must have surely raised the rafters.

Jon Freer's CD Review
This long player from Asaf & The Inner Noise is a distinct composition that sees the guitar, church organ and
drums take equal importance. Composed and arranged by renowned drummer Asaf Sirkus, it is an album of jazz
toned classically non-secular feeling rock touched cuts. "Three Ways" is an expressive guitar led piece, with
pensive organ keys, explorative chords and crashing theatrical percussion. "Hope" looks towards the future,
courtesy of optimistic keys, buoyant drumming and a positive guitar. "Desert Vision" takes a humming bass,
slow walking cymbals, afraid keys and a comfortable guitar to produce a visualization of a desolate and lonely
landscape. "White Elephant" is a big presence at the end of the album, with its passionate moving organ, slow
hulking percussion and strong moving guitar. A unique sound.
Jon Freer, 17th April 2003, UK

Gig preview, Jazzwise magazine, July 2002
Asaf Sirkis at 606 Club,
There's a ridiculous amount of talent coming up on the UK jazz scene at the moment. Almost too much, considering the lack of venues. If you talking drummers, then you have to mention the likes of Seb Rochford, Tom Skinner, Troy Miller, and, Asaf Sirkis – a brilliant, Jack Dejohenette-inspired percussion freak, who as well as powering Gilad Atzmon's band, leads his own quartet at the 606 tonight.
Tom Barlow, July 2002, London

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Other press Quotes

...'the music goes in directions prog rockers would never dream of - or could never play....intriguing, especially for the delight the trio take in pure sound'.
From a CD review by Peter Bacon, Birmingham Post March 29, 2003

...'Sirkis plays brilliantly, as do Lodder and Outram'...
John Fordham, The Guardian, UK

'NOTTINGHAM JAZZHOUSE audiences have been accustomed to bands experimenting with new sounds and pushing back the boundaries of contemporary music, but this trio has certainly come up with something different... 'Propelling the two front liners was the explosive percussion by leader Asaf, building the tension with a whole plethora of omni-directional polyrhythms with great skill'.
Inner Noise gig review, James Griffiths, Feb 2000

Ballsy enough to admit that one of his inspirations was the ProgRock of Emerson, Lake & Palmer, as well as more fashionable jazz and classical names, British-Israeli drummer Asaf Sirkis has come up with the sort of unselfconscious fusion CD that it seemed they didn't make any more.
Ken Waxman, Weekly Jazz july 2004

The Asaf Sirkis original "Song For Two Bendirs" is an outstanding show-piece. Sirkis' virtuosity and his bendir are breathtaking and well reveal the expressive complexity and wide tonal palette that the frame drum is capable of.
Renaissance Man/Rainlore April. 2004

And what a rhythm section. The star was ASAF SIRKIS on drums – a cross between Elvin Jones and Jack de Johnette. His enthusiastic enjoyment of his role, his keen observation of the nuances of the saxes’ sounds and his technical brilliance eg incorporating one-handed pressed rolls and cymbal licks at the same time, together with rhythmic surprises, was quite breathtaking.
Eddie Gibbs (gig review at Lewes Jazz Club), January 2004

Asaf Sirkis entlockt seinem Schlagzeug mit Wucht und doch gleichsam aus dem Handgelenk lautmalerische Rhythmen und treibende "Grooves".
Translation: Asaf Sirkis pulls out of his drums loud painting-like rythms and driving grooves, forceful yet effortless.
Frankfurter Allgemeine Zeitung, Frankfurt, Germany

…"I must mention Asaf Sirkis, our drummer. Not only is he left handed but his playing is also 'left-handed'. He must be one of the most original musicians in Europe today. He has the ear of a composer, not a drummer. Has already recorded his own CD of original compositions, and appears on innumerable CDs of Israeli and European jazz. He regularly tours Holland and Paris with the Amir Perlman Quartet".
John Bostock, Jazz Chord (Australia) 1998

...''and Gilad's long-serving drummer, Asaf Sirkis (aka Peter Forskine) - an exceptional percussionist''...
...''Gilad's alto driven along by Sirkis' impeccable drumming.
Trudie Squires, the Bonnington Theatre gig review September 2006

...Asaf Sirkis, Whose impact on the UK jazz scene has ballooned in the past year through association with expatriate Israeli saxophonist Gilad Atzmon, and the Italian Renato D'Aiello, opens the proceedings with percussion improvisation of typical incisiveness.
John Fordham, May 2002, from Mark Latimer's CD "Unhinged" Take #2

…and behind him, Sirkis drums with marvelous invention and technical virtuosity. He has the be-bop rattle of Roy Haynes and the cymbal deftness of Tony Williams. He makes a traditional martial snare drum sound pulsate like a heartbeat of love. A rare and brilliant drummer indeed.
Chris Searle, the Morning Star, 2001

…This is a fine guitar trio set, with the thrilling drumming of Asaf Sirkis (who gives a lift to everything he plays on) and the majestic John Taylor…
John Fordham, the Guardian, May 2002

…But it is his music triumphing over politics rapport with an Israeli, Asaf Sirkis, an unassuming master percussionist, that quickens the pulse. With his tapping fingers, gently stroking palms, and rapping knuckles, Sirkis's sound sculpting on what looks like a velumed garden riddle makes mockery of those rock drummers with their estates of hittable hardware.
Rob Adams, the Herald (Scotland), Nov. 1999. This trio featured Asaf's Bendir playing (a Turkish frame drum).

…The ensemble similarly evoke haunting stretches of space on the mainly ballad-type material, the musical sensibilities of atzmon's fellow Israeli drummer and Bandir player Asaf Sirkis allowing the music to breathe.
Selwyn Harris, Jazz Wise, April 2003

…On drums, Sirkis confirmed the stature he has established with Gilad Atzmon, with sonorous, Elvin Jones-like solo flights on mallets, and taut, sharp-eared ensemble playing.
John Fordham, the Guardian. A review of Martin Speak's 'Unison' quartet gig at the 'Vorlex', London, Feb 2002

Drummer Asaf Sirkis was tremendous, playing Arabic rhythms on hand drums or using the kit in a flowing Elvin Jones/ Danny Richmond manner.
Charley Dunlap, Bath Chronicle. A review of Gilad Atmon's O.H.E gig at the 'Albert Inn', Bristol, October 2001.

…and Gilad Atzmon's excellent rhythm section of bassist Ollie Hayhurst and the effervescent Asaf Sirkis on drums.
John Fordham, the Guardian, Jan. 2002

Drummer Asaf Sirkis and pianist Frank Harrison strained towards cranium- shattering levels of intensity…
James Griffiths, five star review from the Guardian, Feb. 2003.

Pianist Frank Harrison and master percussionist Asaf Sirkis, were outstanding.
Evening Post, Nottingham, June 2003

''...and observe his accomplished band, including the hugely watchable and creative Asaf Sirkis on drums, and intensely sensitive pianist Frank Harrison''.
Zoe Street, from a review of Gilad Atzmon's OHE at the Queen Elizabeth Hall, London, November, 2004

''...Frank Harrison piano solo backed by Asaf Sirkis's masterly drumming.''
Stuart Nicholson, The Observer, October 2004

…and scurrying hand-drumming from the excellent Asaf Sirkis.
John Fordham, the Guardian, Oct. 2001

Asaf Sirkis creates individual effects on an entirely conventional kit.
Nick Jones, gig review, 2003

...reigning in the exuberance of the dynamic drummer, Asaf Sirkis...
Nick Lea, Jazz Views, Dec. 2003

...Asaf Sirkis' drum genius sparkles, his discipline is as intimidating as his enthusiasm is infectious...
Renaissance Man/Rainlore Feb. 2004

...and drummer Asaf Sirkis (best known as sticks-man for Gilad Atzmon), whose uniquely free style allows him to inhabit and shape the guts of a piece.
James Griffith, The Guardian, April 2004

''This is completely enhanced by the excellent drumming of Asaf Sirkis, which is both tight and charged with energy''
Rory Braddell, 02/07/2004, Music Meeting festival, Nijmegen, Holland

''Asaf Sirkis, its left handed drummer sparkled on Recreating the City of London''
Jack Massaric, The Evening Standard, 10/03/2005

''... the instrumental wizardry of the drummer Asaf Sirkis ...''
Alyn Shipton, The Sunday Times, 18/07/2005

''Fleshing out the core trio is percussionist Asaf Sirkis, who's equally comfortable on hand percussion and conventional drums''... ''Garland’s soprano saxophone, and Sirkis’ hand drums examine similar turf''
John Kelman, Allabout Jazz online magazine, Oct 2005

... ''Asaf Sirkis seemed to play only between the beats, achiving a state of rhythmic levitation'' ...
Alec Patton (Millenium Hall Review), Oct 2005

... ''sterling support from Asaf Sirkis'' ...
Music Review (Jazz), Feb 2006

... ''Sirkis was an intelligent, listening percussionist, following the soloists with an uncanny perception and producing brilliant solos''.
Alan Joyce, feb. 2006

...''joined by bassist Oli Hayhurst and drummer Asaf Sirkis, who provide far more than mere accompaniment. Hayhurst has good ideas of his own, and Sirkis is a constant stimulus.
Dave Gelly The Observer, April 2006