Volkoren #46 – CD Time: 29:00
Label: http://volkoren.com/ Photography by: Jan Borger
More Information: https://www.facebook.com/pages/SILMUS/159349577522537?fref=ts
Tracks: 1) Birth 2) Bright 3) Fortunate, My Child 4) Mono No Aware 5) Song For You 6) Clearing Up 7) Lives Lighted Out 8) Ostara 9) Disappearance (The Horse Ride) 10) Storm Lay Down
Some observed rituals are ancient and have roots in far away and nearly forgotten times, and various natural orders remain mysterious until the moment when one is firmly planted within the experience—there is no book to be read (although advice might be given) yet somehow deeply planted instincts guide…trusting that it will all turn out as we hope. There may be unexpected turns, but that is part of the adventure…the journey through life. If I have my history correct, Ostara is a pagan goddess of fertility and referred to centuries ago during the annual Festival of Easter—rebirth, the cycle of life and in some languages ostara also translates as “loop”.
Silmus is Dutch musician Gert Boersma (acoustic and electric guitars, bass, ukelele, vocals), and along with producer Minco Eggersman (guitars, mandolin, percussion and synthesizer), Jan Borger (piano, bass, synthesizer, Hammond, accordian) and Mirjam Feenstra (vocals), Boersma has created a sonic novella of the anticipations, sensations and emotions of becoming a parent—the delight of wonderment and discovery.
Released in late 2012, this debut album (which is beautifully recorded, mastered and illustrated) contains often dream-like vignettes displaying tenderness and crystalline musicality that guide the narrative without any self-absorbed sentimentality—themes are developed, explored and nimbly resolved. There is an enchanting innocence as the sounds coalesce with ethereal movements in the electric and acoustic instrumentation and occasional subtle voices. This album is curious in that it allows moments of deep and absorbing reflection, yet one is not cast into the depths to awaken in a chilled haze (despite the album artwork); instead the feeling is the presence of warmth and refreshing clarity after the music has gently departed.
A few have placed Silmus’ work in the canon of some well-known ambient artists, but I think his work is more engaging, closer to some instrumental works of Anthony Phillips, selections from albums like New England and Dragonfly Dreams. My favorite track on the album is the nearly-mystical Mono No Aware.
Let’s hope for more from Silmus.
This is a solicited review.
The Royal Potato Family – RPF 1312 – LP, CD, Digital – About 35 Minutes
Songs: Side A: Stop Tonight, Mean Maybe, Love Stories, Young Men Promise, The Ceiling Side B: The Vanished Frontier, Julian, For Girls Who Love To Sing, What’s Out There
Sam Cohen: Vocals, Guitar, Bass, Organ; Annie Nero: Vocals; Brian Kantor: Drums, Percussion, Vocals; Josh Kaufman: Guitar, Organ, Vocals
Something different…and even better it has an excellent sleeve design and is available in white vinyl…
The new Yellowbirds album is: mysterious, drifting, lush, orchestrated, cheerful, danceable, hopeful, syncopated, witty, retro, autoharpy (I know, not a word, but very 10cc*), uplifting, sonorous, jangly, toe-tapping, catchy, spirited, amorous, languid, romantic, edgy, bathed in reverb, fuzzy, harmonious, bluesy, intimate, ragged, orchestral, stark, melancholy, reflective, sad (but wait!), buoyant, lively, driving, dramatic, thoughtful, inviting, tuneful, lyrical, spacey, philosophical and inventively melodic.
I love the combinations of organ, guitars, bells, zither, Mellotron, strings, bass-lines, and the (at times) witty vocals. Yellowbirds’ last album, The Color was exceptional, but this album is even better. Deftly crafted songs, and an supportive record label that takes care of its customers.
Darla Records – DRL 281 CD Time: 59:18
Tracks: Jane 1, Jane 2, Jane 3, Jane 4, Jane 5, Jane 6, Jane 7, Jane 8, Jane 9, Jane 10, Jane 11
Harold Budd is not complacent and I am thankful that rumors of his retirement actually turned out to be false (he briefly tired of writing and recording). He is (at 77) producing some of the most interesting work of his long and varied career. In a way, he is like Frank Lloyd Wright was at about the same age when Wright was hitting his stride with highly original and innovative works like the Kaufmann House (best known as Fallingwater)—always exploring and seeking new edges. Many might connect Budd’s work almost exclusively with solo piano pieces or his first collaboration with Brian Eno, Ambient 2: The Plateaux of Mirror, but his discography is remarkably varied, and including his joint releases, he has contributed to or been the solo artist on over forty albums since 1971.
The music alone on this album is divine, and even better there will be a DVD later this year including video collaborations with artist Jane Maru (who also produced the beautiful artwork for this album). Earlier this year a version of the furtive and at times skittering Jane 9 was quietly released on youtube—it’s just a hint of what to expect from this album.
This is a work of contrasts; some tracks tease the senses (like the unexpected and at times shrill Jane 1 or sharp-edged Jane 5 or the visceral and ghostly Jane 7) and then the pleasurable counter-effects are later intensified as the music ebbs and flows (as in Jane 2, Jane 3, Jane 4 and the sublime Jane 8). Moods and spaces change, first grounded and up-close and then transform into expansive and liberating flights. Budd is also exploring new sounds, instrumentation and treatments on this album (percussion [like chimes], electric piano, droning electronics, celeste and harp). I won’t say why, but Jane 6 evokes some very pleasant childhood memories. Jane 8 reminds me a bit of Anthony Phillips’ recent work Watching While You Sleep—deeply moving and one of those tracks I don’t want to end. The expansive Jane 10 is almost a reverse overture, recapitulating variations of sounds and themes from the previous tracks, as if reliving the experiences. To me, Jane 11 is the reappearance of the spirit of Jane 8—that which I didn’t want to end earlier, returned. How did Budd know that this is what I wanted?
Harold Budd has an uncanny gift for expressing so much with so little, a poet who just happens to use music instead of words.
LP/CD or Digital Time: 37:43 Hydrogen Dukebox Records: Duke 157djv
Released May 20th in Europe and July 2nd in US and Canada
Tracks: Side A: 1) Taking Steps, 2) Geometry, 3) Codewords, 4) Suspended Animation, 5) Ulterior Motives, Side B: 6) The Weather Inside, 7) Back to the Beginning, 8) The Artificial Cat, 9) Pulling Strings, 10) Beauté de Passage
Time plays tricks as one gets older…what used to seem like an eternity might now seem like months, weeks or even a blink of an eye. In the proper hands, time can bend under the spell of music. Transparencies, the last album by Roger Eno and Plumbline (Will Thomas) appeared about six years ago…seems like a while ago, but the memory of it is clear enough that hearing their new album Endless City/Concrete Garden, is like picking up a conversation with an old friend that paused mid-sentence and then continued, flow uninterrupted after an unexpected reappearance—like they never left. But something is different, new experiences have somehow changed things.
A paradox exists in this album, on one hand there is an apparent idée fix of love, loss and tragedy (as noted by reference to the curiously obscure works of the poetess Arlette Feindre) yet the album is not gloomy; it is woven with ethereal moments of warmth, reflection and comfort, beginning with the familiar gentle cascades of piano in Taking Steps. There are scenes of rhythmic playfulness, as in Codewords, with a gamelan-like opening. Also an ironic solitude is present in some tracks like Pulling Strings where one could be walking alone late at night in a city full of people and noise, yet remain focused on more powerful inner thoughts (a strange loneliness in a crowded place). Despite the calming softness to this album, it isn’t amorphous; it has a purposeful direction.
Like their album last together, Endless City/Concrete Garden has taken its form across an ocean and between time zones, the contrasts of cities (New York City and Los Angeles) and the countryside of East Anglia in the UK. The pieces this time around often have a foundation in more recognizable instrumentation: piano, guitar and even a koto, with arrangements including violin, cello, percussion and electronic treatments. Percussive mantras also form the basis of some pieces as in The Artificial Cat. Treated field recordings make appearances throughout (I could swear there is a train horn hidden within The Weather Inside). It’s not always clear from whose hands the sounds are created, but Roger Eno’s piano work is unmistakable, as in Back to the Beginning…it starts out like an etude and then moves on to tell a story. The haunting Beauté de Passage appears to open with what sounds like Frippertronics, but with closer listening, I think it could be a treated accordion…how appropriate, how French. C’est tragique, mais enchantant aussi.
Note: The album is being released as an LP with CD included or as digital files. It’s not yet clear to me if the CD will be available on its own—no word from the record label on this.