No clues as to Polanski’s origins, agenda or even total members is, strangely, the best place to start. When all you’re left with is ‘the music’, and that music doesn’t sound like Travis, then preconceptions aren’t so much dismissed, more never formed.
Anyone who suddenly sat up and took notice when Radiohead threw an organic electronic curveball with ‘Kid A’ should listen good. Seemingly coming from the same indie approach to adding glitches into life as Oxford’s finest, the results are at once minimal, grandiose, humble and poignant.
The title track pushes all this into a lush subliminal consideration of uncertainty, over buzzing crashes and delicate synths. In comparison, ‘Impish Fiddler’ is a wordless, ever-evolving build-and-fall-to-earth voyage full of shimmers, fluid bass, heartbeat thuds and a definite suggestion of mass Warp Records back catalogue ingestion.
The subtleties of remaining tracks ‘Dee...And Gee’ and ‘Film Song #1’ mark them apart with looping harmonies throughout the former and the plonking, clicking twinkle of the latter, but retaining similarities of themed, almost conceptual, proportions.
As an EP, ‘All Possibility’ is as seamless and coherent as four separate tracks can be, marking Polanski as unknowns who should unquestionably not remain that way.
9Adam Anonymous's Score