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.
Anthony Phillips: http://www.anthonyphillips.co.uk/
Ant’s friend and illustrator Peter Cross: http://petercrossart.com/
Ant’s (too occasional) collaborator Enrique Berro Garcia: http://quiqueberro.com/
Although he was 18 when he departed from the band Genesis in 1970, many still associate Ant Phillips almost exclusively with that band (despite his approximately 40 commercially released solo albums and collaborations since 1970 in addition to his vast output of library music compositions and commission work). I have been very fortunate over the years to acquire all of these albums, and each time I place one of Ant’s albums on my turntable or a CD player his music takes me to another place and time (the ups and downs of a life). Ant’s music has been a big part of my life and I owe a great deal of my own creative work to being inspired by his. I think Ant said it best on his second Private Parts and Pieces album Back To The Pavilion (released in 1980): “This album is dedicated to all those who still champion the “old fashioned” ideas of beauty, lyricism and grandeur in art against the tide of cynical intellectualism and dissonance.” Many of Ant’s earlier albums are now being completely remastered (from the source tapes) and reissued (often in double CD releases).
Ant and Quique from PP&PPIII – Antiques: Old Wives Tales
Also spinning these days are albums by:
Three Metre Day – Coasting Notes
I have a ceramic artist friend (Hayne Bayless at Sideways Studios) to thank for getting me to these folks (often the best music comes from referrals by friends). At times their music is somewhat mournful, but always reflective and passionate—this trio from Canada is Michelle Willis, Hugh Marsh and Don Rooke with guest appearances by bassist David Piltch and drums by Davide Direnzo. The album is up-close, largely acoustic in instrumentation and delightfully musical.
Rhian Sheehan – Stories From Elsewhere
At times the music is delicate and others it’s intense, but it’s always inventive and beautifully recorded. Rhian Sheehan is from New Zealand and has released 7 albums under his name as well as appeared on many compilations and soundtracks.
Iron and Wine – Ghost on Ghost
I sometimes find Samuel Beam’s work to be a bit too intense and serious, but his latest album is open, hopeful and at times playful. The first single Joy is beautiful.
Wire – Change Becomes Us
I kind of lost touch with Wire after their albums Pink Flag and Chairs Missing, but I rediscovered their more recent albums when I updated my original recordings with CD reissues. If this new album sounds a bit like it comes from the late 1970s and early 1980s post punk era it’s because many of the songs were written back then, and haven’t seen the light of day until now. The recordings and production are full, with great clarity and this album just makes me want to turn up the amplifiers.
You can listen to the entire album here: https://soundcloud.com/wirehq/sets/change-becomes-us
Montt Mardié – Skaizerkite
Record Label: http://hybr.is/
David Olof Peter Pagmar has taken many identities and until a few years ago he was Montt Mardié (his website is now defunct) and he has since moved on to new projects, but in early 2009 this was his album of excellent pop tunes and ballads—beautifully recorded and produced. The entire album can be streamed here:
Jonas Munk – Searching For Bill (Original Soundtrack)
Jonas Munk has released many great albums and collaborations as Manual and more recently as Billow Observatory, but this is his first soundtrack. The documentary Searching For Bill is Danish director Jonas Poher Rasmussen’s debut and it explores the meaning of life for those living on the edge of American society. It’s a sensitive and contemplative soundtrack.
Many of these albums are available directly from the artists’ websites or at online merchants like http://darla.com/
Happy Listening and Spring (finally)!
CD1 & CD2 #VPD555CD: Total Times: 46:43 and 51:08 Released 2012
Artist Website: http://www.anthonyphillips.co.uk/
Artist Website: http://www.andrewskeet.com/
Record Label: http://www.voiceprint.co.uk/
Tracks CD1: 1) Credo In Cantus (vocal by Lucy Crowe); 2) A Richer Earth; 3) Under The Infinite Sky; 4) Grand Central; 5) Kissing Gate; 6) Pasquinade; 7) Rain on Sage Harbour; 8) Ice Maiden; 9) River of Life; 10) Desert Passage; 11) Seven Ancient Wonders (vocal by Belinda Sykes); 12) Desert Passage (reprise); 13) Circle of Light; 14) Forgotten Angels; 15) Courtesan; 16) Ghosts of New York; 17) Shipwreck of St Paul; 18) Cortege
Tracks CD2: 1) Credo In Cantus (instrumental); 2) Sojourn; 3) Speak of Remarkable Things; 4) Nocturne; 5) Long Road Home; 6) The Golden Leaves of Fall; 7) Credo; 8) Under The Infinite Sky (guitar ensemble version); 9) The Stuff of Dreams; 10) Old Sarum Suite (five parts); 11) For Eloise; 12) Winter Song; 13) Ghosts of New York (piano version); 14) Daniel’s Theme; 15) Study In Scarlet; 16) The Lives of Others; [sic] 18) Forever Always
When many think of the music of Anthony Phillips, often they first remember his association with the early days of the band Genesis, even though it has been more than forty years since he left that band. After formal music training in the early 1970s, Ant did continue to collaborate with Mike Rutherford on The Geese and the Ghost and Smallcreep’s Day, in addition to Ant’s other solo works such as Wise After The Event and Sides in the mid to late 1970s. Ant has released about thirty albums to the general public, in addition to the many compilations of his extensive catalog.
The younger Andrew Skeet has worked as an arranger and orchestrator for George Michael, Suede, Unkle, Sinead O’Connor and Hybrid. Since 2004 Skeet has worked with Neil Hannon of The Divine Comedy on three albums as musical director, arranger, and playing piano as well as touring throughout Europe. Andrew Skeet also established the music production company Roxbury Music with Luke Gordon (former Howie B collaborator) and together their music has been featured in film, television and commercials: The Apprentice, Dispatches, and Banged Up Abroad. Skeet has also orchestrated and conducted scores for The Awakening and Upstairs Downstairs. The album The Greatest Video Game Music was produced in 2011 by Andrew Skeet along with the London Philharmonic Orchestra and has been one of the most successful classical releases in many years.
Ant and Andrew crossed paths when Universal Publishing Production Music commissioned Ant to write a collection of cinema-related music for UPPM’s Atmosphere label. Much of Ant’s music career for the last twenty or so years has been writing what is often referred to as “library music” or stock music composed for use in films, television or commercials in addition to other commisioned and self-produced works. Periodically Ant has collected these tracks, edited and in some cases re-recorded them for his Private Parts and Pieces, Missing Links or other album releases that are available to the general public (primarily through the Voiceprint and Blueprint labels).
It is always of particular interest to me to dig through Ant’s music to find the roots of some of his library work. I do miss the days of his more rock-oriented albums and singing, but recognize that getting that kind of work published these days is not easy or commercially viable. Ant goes through periods where his work is more keyboard oriented, but in 2005 he released a gorgeous double CD entitled Field Day filled with varying acoustic guitar work written and recorded from 2001 to 2005 (the exception being a re-recording of his 1975 piece Nocturne from PP&PP2 Back to the Pavilion…one of my favorite albums of his earlier solo works).
Field Day forms the basis for portions of Seventh Heaven where some of the solo guitar works have been orchestrated in addition to pieces that Ant and Andrew co-wrote later. Ant is credited with having written ten of the thirty-five compositions. The orchestrated pieces from Field Day that I can identify include: Credo, Nocturne, River of Life, Sojourn, Rain on Sag Harbour and the exquisite Kissing Gate. Each of these pieces is lightly orchestrated and perfectly complements the original to heighten the sentiments of the composition.
For fans of Ant’s prog-rock work this album might be a stretch, but if listeners enjoyed the album Tarka (the orchestral collaboration with Harry Williamson released in the late 1980s) then I think this Phillips and Skeet collaboration will be well received. The orchestration and recording is lush yet is not overdone. Many of the compositions are quite visual and evoke certain moods or a sense of place. The orchestrations vary from solo instrument (guitar, piano) to full orchestra, chamber or ensemble.
There are some really gorgeous tracks, from the opening of CD1 Credo In Cantus (based on Ant’s Credo from Field Day) and the transition into A Richer Earth and the dramatic Under The Infinite Sky. Grand Central evokes a sense of motion as in a view taken from the station in New York on a busy morning. Desert Passage by contrast is a stark and dramatic piece based around (I think) a mandocello with Middle Eastern themes along with woodwind soloist (and collaborator from PP&PP6 New England) Martin Robertson.
CD2 opens with an instrumental reprise of Credo In Cantus and ties the two discs together. A spirited orchestral version of Sojourn follows and then the mysterious piano of Speak of Remarkable Things links to the poignant and beautiful guitar Nocturne from long ago—it has an ageless quality to it. Long Road Home has the image of a beginning (and it is quite cinematic in its breadth) with first full orchestra followed by solo woodwinds and closing with piano. The Golden Leaves of Fall continues a similar piano theme and to me the two pieces seem strongly connected. Mid-disc is Old Sarum Suite in five short movements and it has a brilliant range of instrumentation and themes, and shows the versatility of Phillips and Skeet’s collaboration. It has an historic feel to it similar to Henry: Portrait From Tudor Times from “Geese”. CD2 closes with an introspective piece Forever Always, (a common thread, reflection, in Ant’s own work since “Geese” Collections/Sleepfall: The Geese Fly West).
There are extensive liner notes with the CDs as well as photographs of the recording sessions with the orchestras and biographies on the soloists and principal players (John Parricelli, Belinda Sykes, Martin Robertson, Lucy Crowe, Paul Clarvis and Chris Worsey). The works were recorded in three phases (from 2008 through late 2011), with the City of Prague Philharmonic Orchestra and Choir in Prague, then with string section at Angel Studios and then some tracks were re-recorded at Abbey Road along with recordings at Ant’s studio. The only quirk that I noticed is that CD2 actually has seventeen tracks, although it skips from 16 to 18 in the liner notes (typo!).
Seventh Heaven is both a collaborative work with Anthony Phillips as well as a splendid introduction to the work of Andrew Skeet. Whether a fan of Anthony Phillips’s prog-rock, instrumental or library compositions, I think this is a great addition to his oeuvre. Seventh Heaven is an expansive, sophisticated, and elegant work.
CD 43:24 – 12K1070 – 12k Records
1) Adrenaline, 2) Noon, 3) Get Together, 4) Quite A Way Away, 5) This Is The Kiss, 6) Happy Easters, 7) Nunca Jamas (Never Ever), 8) Jonah
More beautiful music to disappear into, discovered this time by an association with a record label that I have quickly come to admire a great deal, 12k. There is quite a story behind this album by Gareth Dickson and it is told best, right here:
The comparisons to the sound, the voice and the music are immediate: Nick Drake, Bert Jansch and others, yet there are some distinct differences, some technological and some musical. I speculate that some of the tunings and picking are similar to techniques used by Nick Drake (whose work I am far more familiar with), but there are similarities to another guitarist I admire a great deal, Anthony Phillips (Geese and the Ghost, many others, and collaborations with Harry Williamson: Tarka & Gypsy Suite).
With the exception of instrumental piece Happy Easters, each song starts with an extended introduction on the guitar. It sets the mood, the color, space and even establishes a sonic incantation for the coming lyrics (much of which are of love, longing and searching).
The recordings have incredible depth (considering they are classified as “lo-fi”). I’m not sure how the album was engineered, processed or mic’ed, but there are some guitar sound similarities to Neil Young’s recent album Le Noise that was produced and engineered by Daniel Lanois. In Quite A Way Away the guitar sounds as an orchestra (whether strings are muted or being played at their fullest at the heart of the guitar). The instrumentation is as stark as Nick Drake’s Pink Moon yet the sound is as full as Five Leaves Left or Bryter Layter—so wonderful to hear.
Happy Easters, to me, is very strongly reminiscent of the acoustic sections of Anthony Phillips’ Scottish Suite as well as other pieces from his second Private Parts and Pieces series of albums. Quite fitting, since Gareth Dickson is originally from Glasgow, Scotland, and his voice also reveals his roots elsewhere on the album.
This is not an album of songs with guitar accompaniment nor is it a guitar album with vocals. Gareth Dickson combines both and reaches into the sonorous depths to create a passionate, deeply emotional and soulful music.
Links to other song samples here: http://soundcloud.com/gareth-dickson