M. Ostermeier – Tiny Birds
1) glide 2) of a feather 3) rafters 4) watcher 5) duo 6) flutter 7) flying south 8) head cut off 9) nesting 10) caged 11) skitter 12) twin crested peaks 13) albatross
M. Ostermeier: piano and sounds
Christoph Berg: violin on glide and of a feather
Photography: James Luckett – consumptive.org
In my part of the world, some birds that used to winter elsewhere now seem to stay here, but many still migrate: from swallows by the millions (spectacular departure throughout October) to songbirds like warblers to the more solitary bald eagles that pass through here on their way to nesting areas along local rivers and up to the Adirondack mountains in upper New York State. Just before the first break of Spring, woodpeckers return or emerge and the local forests can sound like giant marimbas as the oversized pileated variety pronounce their territorial claims, rapping on hollow trunks.
M. Ostermeier’s latest album is the avian themed Tiny Birds. There is a slightly different approach to Tiny Birds compared with his prior album still on Ostermeier’s Tench imprint. The piano instrumentals on still tend to meander somewhat with more liberated abstract forms whereas Tiny Birds is a more controlled series of repetitive melodic vignettes with variations—perceptive yet humble etudes with minimal embellishment or peregrinations—some more dulcet than others.
Despite their apparent simplicity there is still a great deal of subtle texture and depth in the recordings, and notwithstanding initial minimalist appearances, Ostermeier is quite adept at layering and revealing micro-sounds into his recordings, as in his earlier album The Rules of Another Small World. Soundscapes can be taken in as a larger whole while in a place or one can focus on the intimate.
The overall mood in Tiny Birds is mostly comfort with varying passages ranging from delicate to vibrant, but never jarring. The point of view is that of a bystander in quiet contemplation observing the moments, and as a result the music evokes visual memories. I try to resist comparisons to the works of others, but this one locked in my head and I couldn’t shake it: there are connections with some of Satie’s works and the pace (without vocals) is reminiscent of Brian Eno’s two meditations: Julie With and By This River from his 1977 album Before and After Science.
Aside from Ostermeier’s piano and delicate melodic and percussive treatments, Christoph Berg enhances the first two tracks, glide and of a feather with deftly restrained violin accompaniments. It also sounds like there might be some cello in the somewhat mournful flying south, adding weight to the depth of the long cyclical journey. A piano is generally the foundation throughout, and in glide the violin moves in and out of earshot like a golden eagle riding thermals high-up in the sky on the edge of human sight. Of a feather has slight chordal shifts and Berg responds to the piano phrases with a gentle sway.
In summer days of my youth, some of my family used to help a farmer hay his fields and then methodically transfer hay bales from carts into an old barn loft while barn swallows were on the wing above in the rafters—this reminded me of those days, many years ago. Alighted and above, in the breezes, is the watcher, with languid wind chimes below, in a subtle duet. And as if in mid-conversation, duo picks up a somewhat less structured dialog between two birds in trees (is it an actual transcription?), like sometimes at dawn when windows are open and two great horned owls are conversing from opposite ends of the yard, or two robins singing their evening-song at dusk. Some visceral low frequencies pass through this too.
The most musical piece on the album, flutter, is at first a duet, then a trio, perhaps even a quartet, with brisk playful variations on the original melody. head cut off is a slow meandering stagger of sobering paired tones (no birds were harmed in the recording of this…I assume!). Gentle rustling with more intimate microphone placement at the piano, nesting has a slightly voyeuristic quality of a webcam keeping an eye on birds and chicks in a tree, safe from dangers below while swaying quietly in the breezes. The monotony of confinement is depicted in caged, where there are few changes with the passage of time. Skitter has five, perhaps even six sections with both an untreated and a slightly phased piano, punctuated by pure tones in between the melodic phrases. Twin crested peaks is a hypnotic call and response, with the regularity of an EKG taken at rest.
albatross can have several meanings, a golf term (AKA double-eagle, a rare three under par—a bird reference!), a psychological burden or the majestic sea bird with an enormous wing span (up to an incredible 12 feet) and they are often long-lived. There is a tagged female Laysan albatross named Wisdom that has returned to Midway Island for at least 63 years, and this year she mated and had another chick (estimated to be her 36th)– truly remarkable. This closing track is graceful of flight and steady, yet it carries the enduring burden and insight gathered with the passage of time.
My favorite tracks on the album are: glide, of a feather, flying south and albatross.
This is a solicited review.
Review: Aaron Martin/Christoph Berg – Day Has Ended
DR-14 – CD Time: 36:36 – Limited to 250 CD copies or digital download
Aaron Martin: 1) Slow Wake, 2) Burl, 3) Comfort of Shadow, 4) Night Never Came
Christoph Berg: 5) Pillows, 6) Today Has Been Alright, 7) Things Are Sorted, Finally, 8) Coda
Contemplation is too often overlooked; a time for reflection, giving the mind a chance to wander and resolve the events of a day before moving onward into the night. The transition into night may come slowly as the Sun sets on the horizon, yet some of the scenes of the day’s past are lost to fleeting time in the camera obscura of the mind.
Listening to Aaron Martin and Christoph Berg’s shared CD Day Has Ended is way to refocus the mind and to put the swiftly moving retrograde of time and visions back into perspective and allow the mind to return to a more natural order. Martin’s half of the CD (tracks 1 through 4) are starker and more direct despite mixing a variety of instrumentation (electric guitar, acoustic strings [banjo or lute?], organ, voices and the familiar cello—in most cases the calming narrator). Slow Wake’s electric guitar gently percolates with cello weaving. Burl is more serious and centered. Comfort of Shadow uses layered voices like gentle breezes with slow, low and enveloping cello harmonies reaching up from below. Night Never Came opening with an organ is the most solemn and deliberate with a mournful and distant cello, which transitions into…
…Berg’s more broadly orchestrated compositions (tracks 5 through 8). Pillows starts with a phrasing and melody very reminiscent of King Crimson’s Formentera Lady (from the album Islands), and the cello (with other stringed accompaniment) is the narration before gently dispersing. Today Has Been Alright is the most reflective piece on the album, the foundation (at first) is deeply rooted, then an idée fixe appears on piano. The pace quickens somewhat to replay that which is to be contemplated and absorbed. Things Are Sorted, Finally is as in a dream-state when the thoughts of the day may reformulate and become enmeshed in dreams. And finally to Coda, the calming end, the quietude.
Day Has Ended is to be released on September 23, 2013.