A study in universal understanding and global connection.

Burnt Belief have always been difficult to categorise, incorporating improvisation around strong thematic compositions, ambient textural atmospherics, subtle electronics and elements of progressive and jazz/rock blended with an intriguing undercurrent drawn from more ethnic traditions. Falling in the cracks of established genres, yet showcasing a remarkable ongoing core musical chemistry and defiantly it’s “own thing”, Burnt Belief is instantly recognisable to those who know.

As with many other musical collaborations, the Covid19 pandemic rendered previously planned live and studio activity a total impossibility. However, a solid “distance working method” sharpened by three previous Burnt Belief albums has led to the remarkably natural and live sounding new album “Mutual Isolation”.

Despite working within customary musical territory, and with a similar modus operandi, “Mutual Isolation” departs from previous Burnt Belief releases as Colin Edwin elected to play double bass exclusively throughout the album’s 9 tracks, grounding the new material with an earthier, more natural resonance.

“Mutual Isolation” also allows freer than ever reign to Jon Durant’s trademark atmospheric “cloud guitar” approach, with his orchestrational guitar perspective meshing seamlessly around an increased application of his singular fretless guitar. The majority of Jon’s lead guitar parts were initially intended as “work in progress” guide performances but the finished album retains them unedited, which is a fitting tribute to Jon’s creative judgement and the spontaneity and rapidity of the album’s construction process.

As before, the core duo of Colin Edwin and Jon Durant is augmented by the addition of drummer Vinny Sabatino, who is equally at home in both the free jazz tumult of “Where it All Began” and the precise rhythmic tensions of North African influenced “Divine Rascal”. Joining in on percussion duties is the highly in demand Swiss rhythm master Andi Pupato, adding layers of meticulous yet unforced depth to several cuts. Far more than just a “guest soloist” is Estonian trumpet phenom Aleksei Saks, whose lucid tone and expressive phrasing perfectly fit the album’s overall wide screen cinematic canvas.

“Mutual Isolation” is arguably the most “live” sounding and spontaneous of Burnt Belief albums. Despite being recorded in total isolation, with minimal discussion, it is clearly evidence of the musical connection and sensibilities of all the musicians involved.

One of Edwin’s most high-profile projects is Burnt Belief, a collaboration with American guitarist Jon Durant. Their third all-instrumental album, Emergent, is so richly textured in its sonic dimensions that it feels virtually tactile.

On The Confidence Of Ignorance, the smooth sheets of Durant’s guitar offers a dynamic contrast to the bumpy braille of Edwin’s bass. Notes ping, reverberate and echo like sonar emissions during the minimalist Until the Stars Go Out. The ethereal Ghosts Aquatic levitates thanks to drummer Vinny Sabatino’s subtle touch and the way Durant’s notes seem to hang suspended in the air. Best of all is the title track, where Edwin plays whorls of bass in a style that’s as distinctive as a fingerprint. Somehow, Durant makes his sinuous, effects-laden guitar sound like a snake charmer’s woodwind instrument. Burnt Belief might be labelled new age or fusion, but those terms seem too fusty for music this colourful and vibrant.

— Prog Magazine

Their 2012 self-titled debut posited a lithesome fusion-style sound that drew upon electronica, ambient and world music. As good as that was, this follow-up offers more bite and presence. This can be attributed in part to Durant and Edwin’s decision to use real drummers, rather than relying on electronically driven beats, and also to the greater compositional depth and focus here. Forthright playing from Durant encompasses daring Allan Holdsworth-style leaps between chordal twists and turns, as well as breathy trumpet-like wisps across twinkling harmonics and drifting electronic storm clouds. Edwin at times channels an Eberhard Weber-like silkiness via fretless bass, and the thoughtful duet Hover, fuelled by his melodic upright bass, quietly steals the show. Strong tunes coupled with a welcome lack of showy technique provide an unfussy, showboating-free set that rewards repeated listening.

— Prog Magazine

One of 2012's album of the year because of its essential purity, its bold artistic audacity and an unashamed reverence to truly spiritual philosophies. Edwin otherwise stamps his seemingly overlooked talent with the highest marks for creativity and loyalty to the power of the low-end. Ideally, a great late night chill music suggestion. A 4.5 rating for most progfans but if you are a bass fetishist like me, we have to go the full Monty 5 scalded convictionsProg Archives

— Prog Archives