Music Reviews



Ketan Bhatti & Ensemble Adapter: Nodding Terms

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
New Music / Downtown / Avantgarde Jazz / New Classical / World
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May 17 2018
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Artist: Ketan Bhatti & Ensemble Adapter
Title: Nodding Terms
Format: CD + Download
Label: col legno
“Nodding Terms” is an energetic attempt to bridge a gap between percussive experimental modern classical music and electronica / club / dance / pop / house / whatever. The result has the sonic qualities of avant garde classical thanks to four-piece Ensemble Adapter, but musical structures that are a bit more accessible and more inclined towards the growing familiarity and accessibility of repeating patterns. However, the bottom line is that it’s still on the former side of the fence- you won’t be hearing this in your local nightclub any time soon.

Some tracks are purely the Ensemble, dominated by cello, bass clarinet and organic live percussion, but others, like “Modul 5”, introduce more prominent electronic lines into the mix.

Bhatti himself has an established history working on music for theatre and dance, and that’s self-evident here- there are some short, off-kilter-tempo’ed and dramatic pieces like “Funkstoff” here that seem absolutely tailor made for contemporary dance and audition pieces. The suspense inherent in “Hast Hussle” and “Kords” feel more aimed at unusual film soundtracks.

Odd time signatures, the use of flute and slightly folkier elements in pieces like “Umziehaktion” make it sound like a sort of modern day instrumental prog rock, in the nicest possible way. As it proceeds, later pieces like “Modul 4” see the theatricality of it return to the fore.

Remixes from two thirds of Brandt Brauer Frick are woven into the core of the album, with the mesmerising original version of “Ferntendez” immediately followed by a Paul Frick remix that delves a little deeper with long pads and staccato cutting. This really works, creating in effect a ‘part one’ and ‘part two’ to that particular work. Other tracks, such as “Laughter Leading”, are also reminiscent of Brandt Brauer Frick productions, and fans of BBF looking for something with a chin-stroking perspective are pretty much guaranteed to appreciate this.

Generally it’s bright, fresh and full of energy that ends up being quite infectious- whether it’s meant to be a feel-good piece thematically is a little unclear, but like it or not, the end result does feel like it was manufactured with a sense of fun attached. But that’s not to take anything away from it- it’s a truly enjoyable listen but also has a lot of merit, and potentially a very useful gateway album for electronica fans peering into the world of avant garde classical.

Kali Malone: Cast Of Mind

 Posted by Stuart Bruce (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
New Music / Downtown / Avantgarde Jazz / New Classical / World
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May 15 2018
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Artist: Kali Malone
Title: Cast Of Mind
Format: 12" vinyl + Download
Label: Hallow Ground
“Cast Of Mind” is pitched as an electronic experimental album to which acoustic woodwind and brass are an added detail, but in fact the emphasis is somewhat different, especially to begin. It’s the brass in particular, the woodwind close behind it, that really drives this collection of four long dominantly-acoustic drone pieces and glacially slow chord works, and the electronics- all sourced from a Buchla 200 synthesizer- are sometimes reduced to just providing the atmospherics and the decorative sprinkles on top.

After the slightly harsh-edged sparseness of “Cast Of Mind”, it’s in the somewhat mellower “Bondage To Formula” that the synergy between brass and synthesis begins to solidify in mesmeric and pleasant ways. The harmony is broken from the first gutpunching opening moment of “Arched In Hysteria” with its pulsing bass synthesis, still droning but with decidedly more abrasive attitude, before final piece “Empty The Belief” feels like a culmination of all the above, playing both smooth brass drone and harsher synth drone simultaneously into a fairly brash wall of sound.

It’s bold, stark and immersive material with a very clear vision, and a very pleasant way to mentally transplant yourself for 36 minutes.

Splashgirl: Sixth Sense

 Posted by Stuart Bruce (@)   New Music / Downtown / Avantgarde Jazz / New Classical / World
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May 14 2018
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Artist: Splashgirl
Title: Sixth Sense
Format: CD & Vinyl
Label: Hubro
Splashgirl’s sixth album in just over ten years is the sound of a confident post-jazz trio (piano, bass, and drums) willing to both stick to what they know and experiment a little further in equal measure.

After relatively conventional openers “Carrier” and “Broken”, joining the melée of rolling piano key arrays, deep bass plucking and dynamic impulsive drum work comes banks of synth sounds, glittering over the top like a kind of aggressive re-take on Tangerine Dream. Bold and broad-sounding synth atmospherics give a wide, quite soundtrack-y feel, most notably in the title track.

There’s overt melodrama in tracks like “Monsoon”, and exercises in emptier space such as “Half Self”.

It’s a confident bit of experimental jazz that adopts synthetic layers with great ease. I might say it’s more proficient than it is powerful but it exudes a cool quality that’s hard to match.

Didi Kern & Philipp Quehenberger: Linz

 Posted by Stuart Bruce (@)   New Music / Downtown / Avantgarde Jazz / New Classical / World
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May 08 2018
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Artist: Didi Kern & Philipp Quehenberger
Title: Linz
Format: 12" vinyl + Download
Label: Shameless
“Linz” is a live concert recording from early 2017 from a duo who’ve been performing together for 15 years- though from the extremely prog rock stylings and noodlings, you might think this had dropped straight out of the late 1970’s. Were it not for the sharp digital edge on some of the keyboard sounds, you could believe it had fallen through time.

Didi Kern’s virtuoso drumming is the main focus here, across two fourteen-minute-ish long pieces full of tempo shifts and complex pattern changes. Substantial parts of it are like drum solo show-off material, so much so that as an ex-drummer myself it’s almost tiring to listen to it, but Kern isn’t ashamed to drop into steadier 4/4 rock grooves every now and again.

Meanwhile Philipp Quehenberger plays synths, organ-style noises in dark arrangements of long drones and complex opinion-dividing chords and discords, with occasional twists into Rick Wakeman-esque arpeggios and flourishes that tend to run in strong parallel with the drums, jointly frenetic at times, more subdued- but never excessively so- at others, but with neither performer ever really taking a true lead or solo for more than a few seconds at a time.

You can tell it’s a live recording- not because it sounds poor, but the sonic quality is unmistakable, especially in the drumming which seems to have been recorded with a relatively small number of microphones, is a touch muddy, and whether intentionally or not, is further to the forefront than the keyboards which is a bit unusual. You also get the occasional audience member screaming “yeah!” or whistling at the rockier bits.

Fans of Yes and similar indulgent prog rock music will appreciate this as something new but decidedly in the old style.

The Pitch & Splitter Orchester: Frozen Orchestra (Splitter)

 Posted by Stuart Bruce (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
New Music / Downtown / Avantgarde Jazz / New Classical / World
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May 01 2018
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Artist: The Pitch & Splitter Orchester
Title: Frozen Orchestra (Splitter)
Format: CD + Download
Label: Mikroton
Splitter Orchester’s latest ‘collaboration’ is a slight over-statement since three of the four members of The Pitch are Splitter Orchester members already so it wouldn’t be a stretch to call this a Splitter Orchester release.

And what it is, is an exactly 60-minute single piece of slow arhythmic ambience, tone, drone performed by 23 performers predominantly on traditional instruments (multiple clarinets, cello, tuba, piano, guitar and more) but with the prominent use of oscillators, electronics and live tape-to-tape manipulation that gives us a genuine hybrid of modern experimental orchestral work. Performers play supremely long sustained notes and chords that meander in and out in randomised waves and the evolution is formed from the changes in layer combination.

Around a third of the way through some of the guitar plucking borders on the percussive, as do a handful of piano notes in the final third, but these are subtle exceptions to an otherwise very consistently enveloped and ebbing performance where chance, of which there is plenty, is so gradual and morphic that you aren’t even conscious that it is happening. The planning feels exemplary, from the opening slow builds to the warmer more resolution-laden quiet ending.

It’s bold and striking and I wish I were able to see it performed live, where I’m sure the mesmeric power of it would increase. It’s not in itself afforded of many new ideas, but that’s not a criticism- an object doesn’t have to have originality to be beautiful, and that’s what this piece really is, albeit in that dark and unsettling way that adds the extra layer of intrigue that can sometimes be the icing on the cake.
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