CD Time: 57:57, Digital, 300 copies of CD or 150 copies of Deluxe CD #CCL011 & #IR003
Tracks: 1) Paisaje Primero, 2) Paisaje Propio, 3) Paisaje Artificial, 4) Paisaje Natural
Websites: http://damiananache.com.ar/ &
Think of the hour just before sunrise, in Spring especially, the Sun hasn’t yet peeked above the horizon. The songs of birds and sounds of other animals slowly rise with the Sun. Eventually there is a wondrous sonic aura filling the morning, until the Sun is firmly in the sky and the impromptu performance gradually fades. A similar effect occurs at sunset as the gentle evening-song of birds and other fauna greet the night. The sound landscape can, at certain locations, grow to be almost deafening, yet there still remains a feeling of ease and relaxation. Other sounds might enter: wind, rain, trees moving, a distant coyote howling to its pack or even the sounds of a city or shipyard. Taken as a whole, the soundscape has no apparent patterns or melodies, and it spontaneously exists without apparent forethought or design. Isolate individual elements with the ear and some patterns may be detectable, whether from a songbird or the rubbing of an insect’s wings.
Although Argentine composer Damián Anache’s method of creation for his debut album Capturas del Único Camino is different in its technical execution, the resulting experience is similar to how sound is generated in our environment. Anache’s works have been performed at events at the Conservatorio Santa Cecilia (Rome), National University of Cordoba (Argentina), Museum of Modern Art in Ecuador (Quito) and the Cultural Center of Spain in Buenos Aires, among others, in addition to his guest musician appearances at several performances of live experimental music, and as a producer of local rock bands in Argentina. This album is also an outgrowth of the research project Spatial Sound Synthesis in Electroacoustic Music, directed by Oscar Pablo Di Liscia at the National University of Quilmes.
In Capturas, Anache prepared a collection of recordings using acoustic instruments (piano, guitar, glockenspiel, percussion, etc.), voices (the composer’s voice, including falsetto), electronics and field recordings of water (distant and near-field). He then generated a series of four interconnected soundscapes using a software-based technique to randomly select and place the recorded sounds into an interlocked linear progression (I’m not familiar with the software, so I’m taking this at face-value). While the recordings are largely abstract, non-representational of place and without identifiable melodic or harmonic structure, they can be quite spatial in their interaction with each of the other recorded elements. There are also transitions between the four parts where fragments of the subsequent movement appear towards the end of the previous movement coupled with a mild crescendo to generate a disguising sleight-of-hand between the sections.
In Paisaje Primero, strings are plucked, hammered and bowed lightly, percussion is struck gently and the sounds are untreated and naturally resonant. This is the softest and most spacious of the four movements, more furtive than calming, and is without a detectable melody or pattern. Voices appear in Paisaje Primero within about two minutes of the transition to Paisaje Propio. There are also gentle whispers and hushed vocalizations combined with placid trills and hisses. At times, the voices have a character of bowed strings, and I could be wrong, but I also detect some sounds of what could be a cello.
Near the close of Paisaje Propio synthetic sounds are combined with the voices and the character of Paisaje Artificial shifts quite dramatically from the acoustic environment of the first two movements. Paisaje Artificial is more industrial with a static-electric atmosphere, where sounds could be generated by the interaction of conflicting frequencies of radio interference or magnetic waves as one moves through space. Some sounds are pure sine-wave, and the higher frequencies are crystalline and sometimes piercing; so the listeners’ ears should be somewhat prepared, especially if headphones are in use. On the cusp of passing from the Paisaje Artificial realm, the electronics seem to be mildly treated for the appearance of water in Paisaje Natural. Water is presented near and far, as drips, a stream, bubbles, waves and perhaps rain falling from a roof to the ground. There are short cycles in this piece that last about three or so minutes, like passing rain showers, so there is not only gentle motion in the individual recordings, but also in the overall movement. Near the mid-point of Paisaje Natural the sounds of birds appear in the distance, and the treatment of the recording shifts from one existing within the recordings to one of observing from a vantage point of some kind of shelter (this may be unintentional, and purely my own interpretation).
Capturas del Único Camino is well-suited to both a pure listening experience or as part of an audio-visual installation. Despite its apparent minimalist structure and execution, Damián Anache has created a curiously soothing yet complex realm in his debut recording. Rise early in the morn or linger at dimmity, and let the music be revealed.
This is a solicited review.
Label: Sound of Jura http://www.soundofjura.com/
SOJCD1501 CD Time: About 36 minutes
Tracks: 1) Semi-Precious, 2) Come Over To Me, 3) School Of The Heart, 4) Spinneret, 5) The River To The Cave, 6) If We Were Free, 7) Namesake, 8) Mote, 9) Infinity Pool, 10) Whey-Faced Phantoms, 11) A.J., 12) Memory’s Like A Hunting Hawk
Youth, on the verge of adulthood, in search of meaning and perhaps companionship. Young enough and determined to look forward and hope and old enough to reflect on memories and retain some wisdom from experiences; this I interpret to be the theme of Karl Culley’s latest album Stripling. This is Culley’s fourth album, and he now lives in Krakow, Poland, where the album was recorded, but still with strong roots remaining in the north of England and Scotland. His previous albums are: Bundle of Nerves, The Owl and Phosphor.
The songs on Stripling range from hypnotic meditations to something that might cause a gathering of folks (in a pub, perhaps) to spontaneously dance (or at least vigorously toe-tap). The sonics are relatively intimate and unadorned: It’s Culley, his guitar and his voice, but it’s a deeply resonant recording. Contrary to some of his finger-style guitar contemporaries like William Tyler, Daniel Bachman or James Blackshaw there are no lengthy rambling instrumentals. The songs are penetrating and get right to their point with an atmosphere, a memory or story. While others have made comparisons to the work of John Martyn and Bert Jansch, I’ll add the early acoustic works of Gordon Lightfoot (with echoes of his subtle vocal warbles) and the technical crispness and vigor of John Jorgenson and Tommy Emmanuel.
Judging from the reflective nature of his lyrics, it seems like Culley’s work takes time to gestate, but once a piece is fledged it’s cohesive and thoughtfully formulated. There are curious ironies and juxtapositions between rhythms and words. The somewhat brief Come Over To Me seems to be based on heavy subjects, yet the meter, fingerings and melody are lively, but not exactly upbeat. Mote has lyrics (“Floating like a mote through sun or angels trapped in amber, we fall…”) that reference the abstract yet there is a steady grounded rhythm and melody. Whereas Semi-Precious, School Of The Heart, Spinneret and Namesake are reflective, even tender meditations, with the rhythmic fingerings of Spinneret reminiscent of some of Nick Drake’s work—and there is a humble elegance in Namesake.
The mood of a song and lyrics can also be direct and related like the more serious The River To The Cave—not sentimental or wallowing, but observant of circumstances. Vibrant lyrics and melody align in If We Were Free, with much of the verses being slightly-pitched spoken word observations with the final incantation “3 men are lowered into the ground…” abruptly punctuated with silence before returning one last time to the vigorous refrain (reminds me of Richard Thompson’s work).
Stripling isn’t without musing, delighting in the possibilities of enjoying a figurative or literal swim in the reverie of an Infinity Pool—it also is curiously similar rhythmically to the acoustic version of Layla that Eric Clapton recorded a number of years ago. There are also moments where advice is presented or experiences recounted as in Whey-Faced Phantoms, which evolves into a cautionary mantra and A.J. recalling the desolation of unexpected endings—in both, the melodies and harmonies echoing the starkness of a mood.
The album closes with Memory’s Like a Hunting Hawk, intensively focused with desire. There is, however, a pensive gentleness in the longing…solemn and hauntingly lyrical all at once. Also of special note are the pen and ink illustrations that decorate the CD and cover, as if from a notebook of youth: pondering, exploring, even brooding yet freely expressing. This CD made a long journey to me, and I’m glad it finally made it.
This is a solicited review.
CD: 68bpm 001 Time: 41:26
Website: http://drummassage.com/ (Purchase option links at website will be “live” as of 4/28/15)
Tracks: Chimes (Intro), 68BPM, Interlude, Rolls, Heartbeat I, Chimes Coda, Heartbeat II
Performed by Phil Didlake, Leah Gramsjohnson, Isabella Iatarola, Tessa Kaslewicz, Ben Meyers, Clara Natonabah and Steve Wilkes, with support from the Berklee College of Music. Field recordings from the Hear Cape Cod project
Something a bit different from our standard music review…what is known as “functional music.”
Whether by means of self-hypnosis, meditation (such as TM) or other approaches, there is a point where the body and mind can achieve a surprising state of awareness in the midst of a deep calm. Along with others, Dr. Herbert Benson used the term The Relaxation Response to describe a multi-step process for achieving this state. One method to assist with relaxation is by using various forms of music. I can attest anecdotally to the healing and calming powers of certain forms of music.
The Drummassage album is an outgrowth of a project started by Steve Wilkes (a faculty member at the Berklee College of Music in Boston, Massachusetts). Some may recall that Steve Wilkes and Ginny Fordham brought us their Hear Cape Cod project in 2013, a set of field recordings accompanied with remixes by many well-known ambient and experimental musicians as well as a companion album of songs inspired by Cape Cod (another in that series will be released later in 2015).
Drummassage started as an informal gathering and exploration of the possible healing and calming power of drums and drumming at Wilkes’s Berklee studio (an aside: Berklee offers various degrees and concentrations in music therapy). As work advanced on the project and became better known, performances were held at venues around the Berklee community for larger groups with participants placed within drum circles along with the percussionists. Native American drums made with indigenous woods of various types in Wilkes’s collection are used in these recordings. Instrumentation is all-acoustic, and the performances include quiet repetitive and low frequency rhythms with occasional counterpoint from other ambient percussion.
This first recording is in stereo (two channel) with the ultimate goal to produce additional recordings using surround-sound 5.1 mixes to more accurately replicate the experience of participating in the actual performances and therapy sessions. The stereo version is quite effective and Wilkes recommends using either a high quality audio system or headphones to obtain the best sonic results.
Since I have experience with inducing the relaxation response from having practiced self-hypnosis for many years (although not nearly as often as I should!), I can confirm that this stereo recording is quite effective. Often, I found the greatest relaxation being achieved (surprisingly) during the more active rhythm sections. Frequently, I lost a sense of time and either drifted to a deeper meditative state, off to sleep (which is permitted!) or found myself relating visual memories to the sounds during to the interludes (which have field recording excerpts).
The CD has a brief spoken-word introduction mixed with resonant wind chimes. There are three sections (68BPM, Heartbeat I and Heartbeat II) of extended slow muted trance-inducing rhythmic drumming (these will be especially effective if the listener’s sound system also includes a sub-woofer). Interlude is a brief rain shower with thunder, followed by Rolls, a series of building thundering washes (reminiscent of a passing storm). Outdoor sounds (chirping evening insects) return just before Heartbeat I begins.
Heartbeat I builds slowly, first a simple three beats and rest, then a layer of triplets is added to create a pulsing that is later supplemented with what sounds like rain-sticks before diminishing to the straight beat. The last interlude, Chimes Coda passes through with a gentle mix of environmental recordings. The final session, Heartbeat II, reintroduces the foundational three beat and rest pattern, which transforms again into a series of three triplets and a diddle (percussion rudiment term, two struck notes in succession instead of three). Periodically shaken percussion is added. For those who haven’t intentionally tried to induce a relaxation response before, it’s quite an unexpectedly pleasurable and invigorating experience (and can be habit-forming too). It can also improve one’s sense of awareness following a session.
There will be a CD release event and performance at 7PM on April 28, 2015 at The Red Room @ 939, in Boston, Massachusetts located at 939 Boylston Street.
This is a solicited review.
Eilean Rec 88 CD Time: 40:53
More on Twigs & Yarn: http://www.twigsandyarn.net/
Tracks: Hibernate, Sonora, Channeling, Cave Bears, In the Valley, Lend a Hand, Laelaps, Floes
Lauren McMurray and Stephen Orsak are Twigs & Yarn, and on their previous album (The Language of Flowers, my favorite album of 2012), the duo created it over a great distance (between Japan and Texas). Their work presses all the right buttons for me: it’s inventive, tender, melodic, and at times unexpected. T&Y takes me on a new journey every time I listen, yet there’s an inexplicable familiarity that I find comforting. There is also a curious child-like quality of discovery in the music.
On April 5th, 2015, Twigs & Yarn did a live segment on KOOP Radio in Austin, Texas that was (thankfully) streamed over the internet, and T&Y noted they hope to release another album later in 2015. I will link to the recording of the program if it is posted by KOOP (EDIT: Here is the link to the entire program: https://www.mixcloud.com/fadetoyellow/episode-164-fade-to-yellow-still-forms-drift/).
Over the course of their new album, Still Forms Drift I wonder if there is an intentional arc of how the pieces were developed. I detect that the tracks move from more melodic to experimental, and from rhythmic to more atmospheric and subdued, so there is a nice combination of moods and progression on the album.
A layered sonorous hum opens and eases the listener into Hibernate; sounds eddy between the channels (headphone or speakers). The music builds gradually and blends into a delicate yet immersive fabric where voices and distant cloaked sounds are revealed. Sonora is absolute magic—so romantic, delicately rhythmic, playful and with a hint of some of Raymond Scott’s electronic experiments of the 1950s and 60s. As it progresses, there is increasing comfort, dissolving enmeshed sound, then melodic humming. Exploring the layers, with repeated listens is like a treasure hunt, but then just listen again and disappear into it. It’s like a tender and pleasurable whisper during a dream.
Channeling moves to the outdoors, contemplating with the fauna and environs, then dissolving into a trance of gentle guitar, voices and comforting pulses. Gradually, the reverie subsides and a gentle reality emerges. Cave Bears opens a bit like an antique bell-chime clock, steady and somewhat glitchy. Beats, shifted repeating sounds and guitar harmonics are added and the rhythm slows. In The Valley is another memory of place, although more ambient and disconnected compared to Channeling. There is a slight grittiness to it as it progresses, with sounds that are less tangible, as in the edge of a dream. Lend a Hand is a song with two different parallel veiled spirits; an expression of yearning that moves in and out of focus…one voice moves to the distance, but then returns; as if eavesdropping on a one-sided conversation weaving in and out of gentle waves of guitar and entwined low resonant hums…a slowly rocking boat in the doldrums.
Perhaps the most meditative (and curiously metallic) of the pieces is Laelaps. I speculate that it’s an evening of lying on the ground outdoors with gazes cast to the sky in contemplation. If I have my Greek mythology correct, it was Zeus who cast the dog Laelaps into the stars as Canis Major in pursuit of the Teumessian fox, Canis Minor. With a largo of synthetic electronic sounds and somewhat compressed voices Floes closes the album with hints of a lullaby reminiscent of a well-worn music box.
There is so much wonderful in this album, and I was instantly smitten.
This is a solicited review.
Label: InsideOut Music: Two Clear Vinyl LPs (with CD IOMSECD 417)
Time: About 65 minutes with bonus material (Other formats available)
LP 1: Side 1: Out of Body, Wolflight, Love Song to a Vampire; Side 2: The Wheel’s Turning, Corycian Fire, Earthshine, Loving Sea
LP 2: Side 1: Black Thunder, Dust and Dreams, Heart Song; Side 2: (Extra Tracks) Pneuma, Midnight Sun (with Todmobile), Caress (on LP 2, but not the enclosed CD)
After a pair of tremendously successful Genesis Revisited tours in Europe, UK, Japan and the US (with many sold out concerts and shows added due to demand), I’m thrilled that Steve Hackett is back again creating new music. He did the historic material from his Genesis era a worthy justice, clearly an important part of his life (and heck, mine too) and career, and some of that material will always be part of his live shows, but clearly it was time to move on to new things.
I was fortunate to have a chance to hear a preview of Wolflight in Steve Hackett’s studio in the autumn of 2014 and my immediate impression then was that the music is incredibly cinematic—vibrant sound and images in the tales unfolding in the music, whether vocal or instrumental. The music is drawn from experiences, places visited, dreams, nightmares, ancient history and inspired by love. I sense that there is still even a bit of delicately blended (and not yet completely written) autobiographical experiences.
Wolflight is an album of contrasts, from broad filmic passages, some briefly anthemic, to moments of delicate beauty. There is no formula being rehashed from his earlier work, but some elements that are pleasantly familiar are mixed with the inventiveness and varied regional instrumentation that I have come to appreciate in Hackett’s work throughout his oeuvre. Steve’s primary collaborators continue to be keyboardist Roger King and his wife Jo Hackett, along with live show bandmates and production team: Gary O’Toole, Rob Townsend, Nick Beggs, Amanda Lehmann, Benedict Fenner and others.
Out of Body is the eerie wolf-howl call and then energetic overture to the album, a brief taste of what’s to come. Title track, Wolflight opens gently, setting a scene of calm, but the challenges of the tale are expressed in orchestral and sharp-edged guitar solos in contrast with the acoustic twelve-string verses—a powerful title track that has proven to adhere well in my memory, despite the complexity of the piece. In addition to the contrast of sound there is also the irony of subject—that of pleasure in pain and the attraction of potential danger, which is the exploration of Love Song to a Vampire with Hackett’s hushed verses (almost a lullaby), powerful refrains and soulful peregrinations on his Les Paul guitar.
The Wheel’s Turning revisits some of the sights and sounds of works as far back as the album Please Don’t Touch—carnivals of inspiration and a bit of time-travel (with shades of his Squackett collaboration with Chris Squire in the marvelous song from the album A Life Within a Day, Divided Self). At first there’s the basic song then orchestral moves to a devilish romp with a brief homage to The Air Conditioned Nightmare (from the album Cured) and then his album Blues With a Feeling before returning to strains of Bach and the memory of that distant carnival. Creating a strong sense of place, Corycian Fire, after a gentle opening, Hackett uses his highly processed vocals like an instrument to accompany the orchestral, choral and regional instruments in exploring the history of an ancient underworld, which has some similarities to his earlier and less adorned instrumental Steppes (from the album Defector for those who have listened since the early days). Earthshine and Loving Sea are a respite from the album’s vigorous beginnings (an intermission similar to the days of changing a film reel in a theater). Earthshine, a classical guitar fantasy merges into the joyful twelve-string and vocal harmonies of Loving Sea, sailing freely.
Black Thunder rumbles with raw emotion; part history and part social commentary on slavery and civil rights struggles of Martin Luther King with an homage (in the liner notes) to Richie Havens (and his well-known song Freedom) who worked with Hackett on his second solo album. Dust and Dreams is at first a vamp of languid movements and drifting mirages that adds layers and builds to portray scenes of divergent impressions and ultimately it’s resolved in a returning to the comfort of Heart Song, dedicated to Hackett’s wife and creative partner Jo.
The bonus material on side 4 of the LPs (two solo guitar tracks on either side of a collaboration with the Icelandic band Todmobile) fits quite well with the overall album. Pneuma (translates as breath, soul and spirit) is a subdued rumination, a calming re-centering of sorts. Midnight Sun is powerful, melodic and pleasing in its chord structure and rhythms. Caress gently closes the album (which is on the LP, but not the CD).
Despite the sharp contrasts in the instrumentation and sources of inspiration, Wolflight is a very cohesive album, which upon a few listens will become deeply and solidly embedded in the canon of Hackett’s work. The Steve Hackett Band will be celebrating his 40 year solo career with a tour in 2015, Acolyte to Wolflight. I hope to attend a show (but tickets sell quickly!) and I urge readers to get tickets to a show, which will certainly be quite a visual and aural experience, as all of Steve Hackett’s concerts have been since the late 1970s.
Seeing John Edginton’s recent documentary Genesis: Sum of the Parts, one might be left with the impression that after Steve Hackett left Genesis in 1977 he went on to do a few minor projects and then disappeared into the ether. On the contrary, after his highly innovative work with Genesis during the tremendously creative period from 1971 to 1977, Hackett has had a varied and successful solo career of nearly 40 years with as many albums, including some well-known collaborations, songs in international charts (Wolflight is in the UK charts, as I write this), and a faithful legion of fans who are spreading his work to a new generation of listeners.
If anything, Steve Hackett is more vital and relevant than ever with new-found and ever-growing energy that belies the span of his career—continuing to blaze new frontiers in music and live shows.
Tench – TCH-07 CD: About 35 Minutes
Label and Information: http://www.tenchrec.com/TCH07.html
Tracks: Stasis, Division, Hang, Counterpoise, New Lights, Congruence, Inertia, Parity
I read something recently by a musician whose work I admire about disconnecting from modern life, even for a short while, and in the time away a sense of one’s true self may return, even briefly. During that time, relationships with others might even improve. The mystic writer of the Victorian era, Richard Jefferies also wrote of this in some of his essays in the latter part of the 19th century. The pace of what I call life’s ‘carousel’ is sometimes so dizzying, and at those moments, no matter what beckons it’s often time to get away and seek a refuge. Personally, my quickest solution is to go for a walk in the woods, or even local streets away from the din in the mind or work at the desk.
M. Ostermeier’s new CD Still offers a cleansing respite with both passive and active listening. It took a few tries (first while doing other things and then sitting and focusing on the music) to condition myself, but by the time of the third audition, I was tuned-in. Most of the pieces have a piano-dominant center, the primary melody or phrases, and there are sonic backdrops delicately stitched in which complement a given theme. The melodic arrangement is often more akin to Far Eastern rather than Western musical structure, but it isn’t always the case. There is no ominous darkness here, only soft and gentle light. In fact, Stasis opens the album as if the Sun is rising and shadows can be observed to course slowly across the camera obscura of the imagination.
From what I recall of M. Ostermeier’s splendid last album, The Rules of Another Small World, this work seems more focused on acoustic instrumentation with electronics and sampled sounds taking a more secondary role. The album is largely a preservation of the quietude, but there are moments as in Counterpoise, the only marginally forceful piece on the album, where after attention is grabbed it turns into an almost gentle pattering massage, which is eased with a slightly distant piano and other microtones. The fabric of Congruence is gently percussive, reminiscent of dampened marimbas. The CD closes at its most broadly sonorous and harmonic in Parity, with only a hint of foreboding, yet thankfully, no sudden dose of reality.
As is often the case with meditation or self-hypnosis, one loses a sense of time, after entering into a state of deep relaxation. What the clock tells us is a half an hour feels as if it’s only moments, not easily parted from, but wanting to return–like a dream one doesn’t want to end. It’s often difficult to find time to escape to a quiet forest, lake or one’s favorite place for truly as long as is needed, so in lieu of that disappear into some contemplation and take time to think, reflect and be Still.
Yes, I’m guilty. I haven’t written many reviews of late–no other excuse except that there are many other things going on (not to mention a really rough winter), but here’s some of what I’ve been listening to, and I will also soon be writing a review of a forthcoming album on the Eilean label by Twigs & Yarn (some may recall that their The Language of Flowers on the Flau label was my favorite album of 2012). I recommend any of these albums.
A Winged Victory for the Sullen – ATOMOS: Kranky 190: I want to really like this album, but I struggle with some sections. I instantly loved their eponymous first release, but I continue to listen.
Steven Wilson – Hand. Cannot. Erase.: KScope 315: Follow-up to The Raven That Refused To Sing, and I frankly need more time with this album to formulate an opinion. The recording lacks the clarity and strength of the last (engineered by Alan Parsons), but I’m working through it.
M. Ostermeier – Still: Tench TCH07: Just started listening; minimal, soothing, and it is both in the background and can be for focused listening–a combination of melodic sounds and microtones. Helpful for calm…need more of that!
Robin Guthrie & Mark Gardener – Universal Road: Soleil Apres Minuit SM1501 CD: Comfortably familiar sound and soothing lyrics–shoegazing for the Sun.
I’ll likely have more to say on these soon, but for now, rest assured that my recommendation will not disappoint.
I’m hoping for Spring, and SOON!
Future Spin Productions CD – Time: 38:26 – Release Date: March 31, 2015
Available at: http://www.chrisjamisonmusic.com/
Tracks: 1) Always, 2) Blue Melody, 3) Juniper Blues, 4) What About Tomorrow, 5) Pedernal, 6) The Mockingbird Song, 7) Waves Of The Wind, 8) Roadside Bar, 9) Old 81
When first meeting some folks, it often takes time to get to know them. It might take months or even years until an acquaintance becomes a friend. For reasons that can’t often be explained, sometimes with a certain person or people, there’s a sense of ease or a bond and it just seems right from the start, and that’s how Chris Jamison’s forthcoming album Lovecraft feels and sounds to me.
Formerly of Texas, Jamison now lives with his young family in Arizona and he has self-produced four previous albums, and contrary to my normal listening preparations, I didn’t listen to any of his previous work, initially. There is a grounded familiarity in Lovecraft, like being at a favorite place or in a well-worn cherished piece of clothing, and even if a song’s subject is somewhat melancholy there’s a comfort in it that brings some hope for better things ahead. The album is tastefully humble and original in many ways, yet with a lilt of roots, blues and country, and it does kick-up some dirt too. Most of the songs are quickly memorable, but the substance is far more than just catchy hooks.
As much as I try to resist comparisons, it’s clear that there’s an homage to some musicians reaching back into the 1970s (instrumentation, vocals and studio vibe) like Jackson Browne of the Running on Empty era and earlier as well as the timing and presence of vocals in earlier works of Van Morrison. It’s also clear that Jamison not only cares about the songs and instrumentation, but how the recording sounds, and he sought Sam Kassirer for the mixing who has worked with Josh Ritter, as well as mastering by Scott Hull of Master Disk in New York, who has worked with many well-known musicians. Click on the photo below to view other album credits and musicians.
The album opens with Always, which has a steady awakening beat that features organ and electric guitar with Jamison’s strong vocals, yet the vocals don’t demand attention. There are reflective and slow-swinging moments with languid electric guitar or piano as in Blue Melody and Waves Of The Wind, and whether the vocals are slightly saturated or clean, they are clear, but not over-powering. The meditative slow-dance Juniper Blues channels some of Vince Gill’s work from The Reason Why album (These Days tetralogy); the sweet memories that still haunt, to paraphrase the lyrics. Jamison also plays a bit with a sense of time, starting What About Tomorrow with sounds reminiscent of an old radio tuning into a memory and discussions of what could have been. The song’s construction evokes the instrumentation of Al Stewart’s On The Border with Sebastian Cure’s guitar solo paralleling Peter White’s solo in Border.
In addition to telling stories, Jamison also remembers places, as in Pedernal, which I believe is the northern New Mexico mesa (Cerro Pedernal) that Georgia O’Keefe used as an occasional subject for her paintings. The piece is at first instrumental, ambient and contemplative, then the vocals blend with the cello, vibes and organ, it’s a humble entreaty to listen, “May I sing you a song…” The Mockingbird Song is an observation and appreciation with a soft spacious opening, almost trance-inducing. It’s of chasing dreams, with a strong vocal and is reminiscent of Josh Ritter’s The Temptation of Adam, but more hopeful. Mockingbird is an elegant song, and the harp along with hushed organ and vocals are just…perfect. Another place, real or imagined is the intimate Roadside Bar with piano, percussion and the feeling of enjoyment and jamming with friends who sing along. The album closes with the reflective, visual and optimistic returning depicted in Old 81.
So much music (or what passes for it) these days seems synthetic and lacking an authenticity that pushing the “SKIP” button on a CD or MP3 player might be a better option than wasting the precious time to be inundated by sound that is over-processed with samples and pitch-correction. As much as I seek music that is more experimental and somewhat edgy, I also enjoy and have a deep respect for songwriters who take great care to compose and record with understated yet effective arrangements and skillful musicianship.
This album is the real deal and it’s a great companion for a road trip too. Hit “REPLAY.”
Photo of Chris Jamison by Lillian Reid
This is a solicited review
More on Taylor Deupree and 12k: http://12k.com/
More on Marcus Fischer: http://www.mapmap.ch/
Compared to many, I am a relative latecomer to works on the 12k label (within the last 5 or 6 years), but I have listened to experimental, acoustic/electronic and improvised musical works for decades. Having missed other recent chances to see artists’ work that I admire in a live setting, I was quite pleased that the stars aligned last night to see Taylor Deupree and Marcus Fischer perform in an intimate and comfortable setting at the Spectrum NYC on Ludlow Street in Manhattan as the final part of The Cellar and Point Presents series. My elder son also came along–it was nice to share the event with him.
The type of work I do often involves long spans of time between inspiration and tangible result, months and frequently years. So, being able to witness creativity translated into a reality in a comparatively short interval is pleasantly stimulating. Mostly I’ve seen it in jazz collaborations or rock music solos—taking a true creative risk and watching the outcome unfold and evolve (although the latter is often pre-scripted these days).
Deupree’s own work I know primarily through his 12k label and I have reviewed a number of his label’s albums here, and Fischer’s with various collaborations and solo works on a number of labels including Tench, Kesh, Optic Echo, Flaming Pines, 12k as well as self-released. Aside from their live performance with Corey Fuller, Tomoyoshi Date and Simon Scott on the 12k CD Between, Deupree and Fischer also collaborated on a studio project in 2011 entitled In A Place Of Such Graceful Shapes (and I was VERY fortunate to find the gorgeous original limited edition release thanks to a referral from Marcus Fischer who spotted a lone remaining copy at Beacon Sound in Portland, Oregon a couple of years ago).
I’ve been trying to find the text source, but I recall Taylor Deupree advocating that musicians of electronic or experimental works avoid using their laptop computers as primary music generators at performances, recommending artists create sound in the moment via other methods, rather than playing prerecorded sequenced works. Live performances need not be perfect, and sometimes fascinating things come out of failure or happenstance. Last night’s performance lasted a bit more than an hour (audio and video were recorded by Joseph Branciforte of The Cellar and Point), and was a sonic journey that could have fallen unexpectedly to quirks of some rather complicated equipment set-ups (see photos below), but the back-up plans in place were not needed at all.
Initially, Deupree and Fischer spent about 15 or 20 minutes recording and layering sounds and textures loosely reminiscent of Graceful Shapes with percussion, melodic instruments, bows and various effects before branching off and working, more or less, independently of each other yet still curiously bound together. At about 40 minutes, both added new sounds and effects to take the performance into an alternate realm (Deupree being somewhat freer in applying contrasting textures).
Taylor Deupree’s Equipment
After the opening, Deupree’s sound creation and processing were primarily via electronic means, adding sounds from his modular synthesizer and shifting resonances between the channels of Spectrum’s surround-sound system. Whereas Fischer used largely acoustic instrumentation, plucking strings, bowing (actual bow and E-bow), tuning forks and other objects to add layers and textures. Before long, sounds that started as staccato percussives sounded more like fluid, perhaps akin to an ocean or at a shore, and light breezes mixed with occasional Manhattan street noises (the happenstance).
Fischer, who also works with tape loops (such as his recording At Frame) had a vintage tape recorder with an expanded trapezoid of magnetic tape stretched between microphone stands to supplement the fabric of sound. Fischer would at times modulate pitch by physically moving the tape (also, watching the tape splice pass across the stands was rather hypnotic). Only occasional glances between Deupree and Fischer occurred as the piece developed, no words exchanged, just the sounds they created that filled the space. At an appointed moment, Fischer snipped the tape loop, it unraveled, and the music gradually faded into the night.
Marcus Fischer’s Equipment
It was an inspiring and soothing diversion from the realities that compete for space in an overly active mind, and Taylor Deupree and Marcus Fischer’s performance gives me hope that in an age where ceaseless media, noise, and clamoring for wealth and power dominates many of our collective daily experiences, it is possible to remain true to a more peaceful and well-crafted vision while remaining spontaneous and creative in a quiet timelessness.
A couple of pre-show photographs by jotabu
CD DR-28 – Time: 45:56 (Limited Edition of 100 and Deluxe Edition of 100)
Almost two years ago The Endless Change of Colour (12k1074) presented a peaceful timelessness borne from a phrase on a jazz record split into three stems disguised as something entirely different. The resulting single movement instrumental work was grounded in a calming earthiness.
Sinfonietta is similar in form, although in contrast it’s loosely held to the bounds of sonic gravity. From the opening, the music phrases materialize definitively then ease in gently to create a feeling of gazing over what could be a familiar realm below with the observer being gently suspended and the vision staying just beyond reach. Recurrent themes occupy a somewhat narrower range of sound and emotion compared to TECOC, yet there are no detectable patterns and the entire work is elegantly devoid of monotony. Periodically, slower flowing waves materialize and vanish gracefully, like evaporating clouds, a languid aurora or another vision from the imagination.
Even with a seemingly minimal palette, Marsen Jules (the nom de plume of Martin Juhls) cleverly interlaces and produces three dimensional visualizations in sound. Listening to Sinfonietta, I feel as if I am serenely traveling in space, perhaps orbiting the Earth (or another as yet undiscovered planet) and marveling at the sights from my comfortable observation craft where I am quite content to remain.
This is a solicited review.