Review: Benoît Pioulard – Hymnal Remixes
450 CD copies, first 15 copies signed by BP, also digital (to be released January 21, 2014)
Remix label: http://losttribesound.com
Available at: http://losttribesound.bandcamp.com/album/hymnal-remixes
Artist website: http://pioulard.com Original recording label: http://kranky.net
CD 1 Remixes – 44:51: 1. Mercy (Fieldhead), 2. Margin (William Ryan Fritch), 3. Excave (Squanto), 4. Litiya (The Green Kingdom), 5. Homily (Cock and Swan), 6. Florid (Brambles), 7. Censer (Field Rotation), 8. Reliquary (Part Timer), 9. Margin (Zachary Gray), 10. Foxtail (Graveyard Tapes)
CD 2 Remixes – 53:29: 1. Hawkeye (The Remote Viewer), 2. Censer (Segue), 3. Knell (Widesky), 4. Florid (Loscil), 5. Foxtail (Radere), 6. Gospel (James Murray), 7. Reliquary (Benoît Honoré Pioulard), 8. Margin (Ruhe), 9. Gospel (Window Magic)
****
I want to note that sound quality and production are very important to me, almost as important as the music itself. So, given that statement, please read this review carefully. Comments seen as criticisms are not of the music or the writing, but largely on the choice of production methods and sound quality. I think very highly of the music penned and played by Tom Meluch (in his guise as Benoît Pioulard). With that in mind, please read on.
****
Hymnal – The Original
I’ve enjoyed Benoît Pioulard’s previous kranky releases as well as the more experimental vinyl EP Plays Thelma on Desire Path Recordings, so coupled with the early press accounts of Hymnal I was hopeful that it would be a great album…
I feel that there are many exceptional songs on Hymnal (Hawkeye, Reliquary, Excave, and especially Margin, and Litiya) along with some comforting drones (like Censer), but in general I feel there is a lack of presence in the recordings—they sound flat, out-of-phase and firmly entrenched in a claustrophobic mid-range (nothing at all like the sumptuous reverb of the intended muse “religious architecture”). Pioulard’s songs on this particular album are lost in a limiting boxy haze.
I’m a big fan of lo and mid-fi recordings and some musicians do it so well; East River Pipe (FM Cornog), more recently Will Samson and especially (one of my favorite albums of 2013) Bryan Ferry’s The Jazz Age (recorded in monaural with Jazz-era microphones). Granted, some artists and writers create works within strict limits and can be quite successful (shades of a single color, certain textures or excluding a specific vowel in a written work), but with all the praise I take a contrarian view on the technical execution of Hymnal. The quality and depth of recordings matter to me, unless there is a stated goal for why sound must be altered so dramatically.
I learned recently of Benoît Pioulard’s other off-label work, such as his 2011 digital EP Lyon (and in support of how I think Meluch writes some great songs). Have a listen to the gorgeous and unadorned song Tie:
It has some of the qualities of recordings by Nick Drake and Bert Jansch (think The Black Swan). I’m certainly not advocating that Pioulard chooses between one recording approach or another, I’m suggesting perhaps a sound somewhere in the middle, with the vocals higher in the mix and a fuller sound.
Hymnal – The Remixes
Original songs can find new life in covers or remixes. So, when Lost Tribe Sound announced this collection of Hymnal reinterpretations (by artists such as Loscil, Cock & Swan, Brambles, The Green Kingdom and William Ryan Fritch) I thought that some of the depth that I felt was missing in the original might be introduced or restored.
This is a really interesting collection, and the recordings in most cases have the clarity and sonic diversity that I had hoped for in the original album.
The two CDs are split loosely into two categories: 1) rhythmic with vocals and 2) more on the ambient side, largely instrumental. After a couple of listens I was quite surprised that I found myself leaning more towards the feel and sound of the more actively engaging CD 1.
As with the original album Mercy (I’ll call it track 1.1) opens the collection and it’s a bit of an assault on the ears (the original being a full-on harmonium before the vocals enter), but in the remix version the harmonium is tamed and a slow march beat is overlaid. The sound is far more spacious, as if entering a cathedral. William Ryan Fritch’s remix of Margin (1.2) is an almost frenetic orchestration compared to the original and Zachary Gray’s version (1.9), which starts off quite stark with lone guitar and vocal and gradually the instrumentation and soundstage expands—I think both are quite successful, and in Gray’s version the vocals are clear as the song develops (makes me wonder all the more why Meluch chose to shroud such a great song). Squanto’s remix of Excave (1.3) is a series of repeated fragments made into a rhythm and sounding very much like some of Peter Gabriel’s mid-career work.
The Green Kingdom’s and Cock & Swan’s remixes of Litiya (1.4) and Homily (1.5) are quite enchanting. The sound of Litya softer, fuller and more comforting than the original—the soft electric guitar and cello overlays give the track such an easy feel, and Pioulard’s largely untreated vocals weave right in, so well. I have to admit that Homily is one of my least favorite tracks on the original album and Cock & Swan have woven their unusual magic, making it an ethereal journey (supplemented with Ola Hungerford’s vocals) while maintaining some of the original grit, and I assume that the crisp nylon guitar overlay is Johnny Goss’s. Brambles transformed Florid (1.6) into a (quite unexpected) “chill dance” piece—it has a languid vibe. Field Rotation put Censer (1.7) into a time machine and it emerged from an old modular Moog during Tangerine Dream’s Stratosphere era. The original version of Reliquary is furtive and mysterious, and Part Timer (1.8) stretched this concept further with his stark (and at time minimally orchestrated) interpretation.
The Remote Viewer’s version of Hawkeye opens CD2 (2.1) and its origins are deftly shrouded, and at first I didn’t care for it much, but it has grown on me—it’s delicately fragmented with some quirky treatments (very Boats-y!) and at times it sounds like Mark Isham’s early experiments from back in his Windham Hill label days (yes folks, I’m that old). My two favorite tracks on CD2 are Segue’s version of Censer (2.2) and Loscil’s (at times, visceral) remake of Florid (2.4). Curiously, Censer is given a gentle heartbeat, which despite the motion has a rather soothing effect to it. The remix of Florid somewhat belies its connotation, elaborate in its sonic depth, but not ornate.
Widesky’s Knell is an expansive fragmentation of the cathedral bells of the original and then all is absorbed into a rather compressed package of the experience (kind of like a snow-globe)—it’s a bit edgy for my ears. Sorry, but Radere’s version of Foxtail (2.5) just didn’t work for me—too strident. James Murray’s Gospel (2.6) meanders and bends with a broad color palette and is a contrast to Window Magic’s version (2.9) that is narrower, more primary shaded.
Pioulard’s remix of his own track Reliquary (2.7) shrouds the original even further; the furtive character is diminished—a curious approach. Ruhe’s version of Margin (2.8) is an almost unrecognizable adaptation of the original with only the slightest of rhythmic and vocal fragments remaining—in kind of a trance beat.
Sometimes sequels or remakes are better than the original, and that’s how I feel in this case on the production side of things. Despite my comments on the source material, I urge listeners to purchase a copy of Hymnal and judge for yourselves—some might disagree completely with my assessment on the sound quality. I’ll continue to look forward to Benoît Pioulard’s future recordings.
****
This is a solicited review.
Lucky 13 – My Favorites This Year…
…A Not-So Comprehensive List
2013 has been a quirky year; for a time I found that inspiration had vanished and I wasn’t interested in listening to music or writing about it at all (a rare occurrence). I’m guilty of having purchased less music this year (an economic curtailment of necessity). Nonetheless, there has been some great music in 2013 (and my slice is a tiny piece of what’s out there). This year I read some music-related memoirs by artists whose work I’ve admired for decades (Burt Bacharach, Neil Young, Michael Feinstein–of his time spent with Ira Gershwin and other books), some histories of Jazz Standards, Blues, Rock and Roll, and records labels (including one of my favorite indie labels, Merge Records). I was also fortunate to attend a number of live shows, and I’ve posted photos of some of those throughout the year.
Is it me or have record labels and artists reduced their output somewhat? Is it a lull in a normal cycle or a sign of the economic times?
Some of the music on this list will be familiar if you have checked-in to read my reviews and some I have not reviewed. I also have some albums I’m still listening to and I haven’t decided if I’ll write reviews for them (an archival release by The Books, La Luz’s first LP, Mary Lattimore and others). One album in particular that I’ve enjoyed recently (although it was NOT released this year) is a live archive solo recording of Neil Young at the Canterbury House in 1968 entitled Sugar Mountain—the album is mostly material that Young wrote or co-wrote with Buffalo-Springfield, and it was recorded right after Buffalo-Springfield broke-up.
A double live CD has also just arrived of one of the last (very lively hot Jazz) gigs played by the house band at Eddie Condon’s in New York City before it closed in 1985—One Night at Eddie Condon’s (Red “The Commodore” Balaban’s Condon Band), with Ed Polcer, Dr Palu Squire, Jack Maheu, Tom Artin, Bobby Pratt, Dave Shapiro and Danny D’Imperio, recorded by Doug Pomeroy)–thanks to Tom Artin for sending this great piece of Jazz history!
****
The Lucky 13 (all albums purchased–not promos)
Yellowbirds – Songs From The Vanished Frontier – Royal Potato Family: This is my favorite album of the year—just love it–the vibe, the sounds. Please see my June review.
Harold Budd – Jane 1-11 – Darla: The music with companion videos release won’t be available until early 2014, but another beautiful album from HB. I reviewed this album in June, as well.
John Scofield – Überjam Deux – Emarcy: I reviewed this album in August—an excellent follow-up to the original Überjam, and a great vibe with Jazz, Blues and more!
Steve Hackett – Genesis Revisited: Live At Hammersmith (CD/DVD) – InsideOut: As I noted in my review of last year’s studio release of Genesis Revisited II, I feel like Steve Hackett is the keeper of the spirit of the work of Genesis during the 1971 to 1977 era. So many of the earlier recordings (weak on the engineering and mix, except The Lamb) were greatly improved and enhanced, and this comprehensive 3 CD and 2 DVD set documents the fabulous and memorable Hammersmith show in May of 2013 before the band traveled to the US for their fall tour. The SH Band will tour further in support of this in the southeastern US and Europe and Russia is 2014 (bassist Lee Pomeroy will be replaced by Nick Beggs, a familiar face to Hackett Band fans…I really enjoyed Lee on this tour, he really brought out just how musical Mike Rutherford’s bass lines are in these earlier Genesis classics).
Wire – Change Becomes Us – Pink Flag: I was a big fan of Wire in the late 1970s and then I just plain lost touch with their work. The Words On Music label has a compilation of reinterpretations of their well-known single Outdoor Miner from their 1978 Chairs Missing album, and then I noticed a post earlier in the year by Marc Ostermeier (of the band Should ,and WOM and Tench labels) that a new album was forthcoming.
Juliette Commagere – Human – Aeronaut: Late in 2010 Commagere released her album The Procession on Manimal Records—a diverse combination of songs with dense and gorgeous vocals instrumentation—part art-rock, progressive and electronica. Commagere has returned with another beautifully recorded album of lush songs with her strong vocals and support from husband Joachim Cooder, Ben Messelbeck, Amir Yaghmai, Ry Cooder and recorded by Mark Rains and Martin Pradler. The sound is deep, full, inventive and often fantastical—she is doing her own thing, and I love it (catchy melodies and all). There are times when she channels Elizabeth Fraser as on Low.
Roger Eno – Ted Sheldrake – Backwater: Thirty Years after his first work Apollo with brother Brian and guitarist Dan Lanois, Roger Eno compiled this tribute to friend and neighbor, Ted Sheldrake. Although I reviewed this album in November of 2012, it wasn’t officially released until January of this year.
Cock & Swan – Secret Angles – HushHush: I am eagerly awaiting my blue vinyl (Kickstarter-funded) copy of this digital release that I reviewed in August.
The Bryan Ferry Orchestra – The Jazz Age – BMG: Back in March I did a brief comparative analysis of this album and Steven Wilson’s latest (see below). I think this is a really spirited and fun reinterpretation of earlier works by Roxy Music and BF. Being a lover of old acoustically recorded 78s of the pre-Jazz and Jazz ages, I get this.
Steven Wilson – The Raven That Refused To Sing (and Other Stories) – kscope: A strong album (I think it’s Steve’s best to date), beautifully recorded and engineered by Alan Parsons. My favorite song is Drive Home.
William Tyler – Impossible Truth – Merge: A brilliant solo guitar album by Lambchop and Hands Off Cuba alum, and a great follow-up to his previous Tompkins Square release Behold The Spirit. I reviewed this album in March.
Celer – Viewpoint – Murmur: As I noted when I reviewed this album in April, I find this album absorbing and romantic—a great piece for getting lost.
Ron Sexsmith – Forever Endeavour – Cooking Vinyl: I love Ron’s work–started listening in 1997 with his third album Other Songs. Forever Endeavour is sparsely arranged, but strings, horn, percussion, pedal steel or electric bass are right there when they’re needed. Other than that, the songs are Ron’s voice, and his acoustic guitar. He has a gift for wordplay and expressing emotions with a deft efficiency that flow so naturally with his melodies. Some songs on Forever Endeavour are ironically upbeat, like Nowhere Is and Snake Road—in a sense, keeping the faith. The CD has two bonus tracks (songs written with Don Black and recorded by Don Kerr), Life After A Broken Heart and Autumn Light, and they are just plain gorgeous additions to this album. Here’s a live recording of Autumn Light.
****
Two of my favorite new discoveries in 2013
Meridian Brothers – Desesperanza – Soundway: I heard about Meridian Brothers in an NPR Alt Latino podcast and was instantly hooked by this band from Bogata, Colombia–buying as much of their back catalog as I could find in physical releases. Their music is surreal and playful—a combination of Joe Meek, Esquivel and Raymond Scott.
La Luz – Brainwash (7″) – Suicide Squeeze: This is a single (my version is on clear vinyl) that was released by La Luz just prior to their new album It’s Alive—It’s infectious and fun! I got to La Luz thanks to Johnny Goss (one half of Cock & Swan).
Review: Cock & Swan – Secret Angles
Hush Hush Records # HH011 CD: About 38 minutes
Band: http://www.cockandswan.com/ and http://dandeliongold.bandcamp.com/
Label: http://www.hushhushseattle.com/ and http://hushhushrecords.bandcamp.com/
Tracks: 1) Following, 2) Secret Angle, 3) Animal Totem, 4) Night Valley, 5) Looking Out, 6) Red Touch, 7) Inner Portal, 8) Kicking In, 9) Melt Down, 10) I’ve Got A Feeling, 11) Night Rising, 12) Myself Inside
I’m thrilled that Cock & Swan have a new album. With each release it’s apparent that their confidence is growing, and even better, they’re still experimenting. From their earliest albums like Drawing From Memory (2007) and Unrecognize (2010) their sound ranged from rough synthesized foundations, tape and microphone experiments to nearly extreme lo-fi acoustic recordings. The 2012 album Stash (I reviewed early last year) had moved their sound from more electronic towards “…a record focused on acoustic instrumentation…” For their forthcoming album (to be released on September 10th) Secret Angles they are combining the acoustic instrumentation with more of their electronic roots—the sound is fuller, rhythmically engaging and more up-beat. Secret Angles moves between many different genres: progressive, electronica, acoustic and electric folk, house, dance and many others—it doesn’t dwell in one realm for long, but the album is not at all disjointed—it’s quite cohesive.
The acoustic and analog roots of Cock & Swan are still strong, and they appear as Following begins with the sound of tape mechanisms and immediately a seductive pulse, electric guitar riffs and Ola’s soft voice initiate their hypnotic spell. By contrast the title track shifts to a darker, looped and gritty electronic foundation (and we are awakened briefly from our pastoral spell). Animal Totem is quite reminiscent of the latter day Everything But The Girl’s track Before Today from their album Walking Wounded, when ETBG’s music shifted from coffee house to a darkened house vibe, but C&S’s Animal Totem is earthier and more acoustic with broad clarinet washes added by Hungerford.
With Night Valley, the album shifts to an even glitchier more experimental sphere where Ola’s voice and some of the instrumentation are bent and shifted and the sound enters a mysterious territory. Looking Out continues with electronic, vocal loops, an almost Mellotron Brass sound and what I call “heavy drums.” As I noted with their album Stash—tracks like these are reminiscent of King Crimson’s earlier work as on In The Wake of Poseidon. The album also contains some short instrumental and vocal links (Red Touch and I’ve Got A Feeling) which are samples disguised elsewhere in other tracks.
Tracks often start with samples and a vibe that are then absorbed into the mix of a song; Inner Portal illustrates this with Ola’s vocal and breath loops coupled with what almost sounds like a ship’s steam-powered horn and it’s woven together with a heavy dub beat and coarse under-pinnings. The chorus adds an acoustic guitar (a contrast of the heavy with the delicate). This is a great track and one of my favorites on the album, along with the first three. By comparison Kicking In is quite stark in its percussion and rhythm section before gathering momentum into the vocals. Melt Down is the most electronically layered of the songs, and Ola’s vocals calm the mood and fill the spaces.
Only once did I feel like I had a sense of some monotony drifting in during the track, Night Rising—after a while it didn’t really take me anywhere…a bit like some of Edgar Froese’s (Tangerine Dream) solo work of the late 1970s. It’s a vocal and rhythm-section drone. The album closes with Myself Inside, which harkens back to Cock & Swan’s stark early work—an acoustic guitar (in the character of a child’s toy piano), a simple rhythm and Ola’s vocals layered with deep breathing.
Since I’m working with a promo recording, I don’t have access to the lyrics or the personnel list for the album, so I’m not sure if there are other musicians on the album besides Johnny Goss and Ola Hungerford. It’s also worth noting that Johnny Goss provides engineering and recording support for other Seattle-based musicians, including one band that recently caught my attention, La Luz (absolutely infectious 60s surf-pop) fronted by Shana Cleveland.
After Secret Angles, I’ll be very interested in hearing where Cock & Swan takes us next. Don’t miss this album, and seek out a copy of their last, Stash too.
Cock & Swan – Ola Hungerford and Johnny Goss – Photo by Angel Ceballos
****
This is a solicited review
wajobu 