Posts Tagged ‘modern classical’

Gizeh Records – 31st August 2018

The Great Lake Swallows is a collaboration between Canadian cellist Julia Kent and Belgian guitarist/tape machine manipulator Jean D.L. The former came to my attention some time ago, and her nuanced style of playing had yielded some compelling works. Jean DL, however is an unknown quantity to me, and I came to approach the release without any real preconceptions. I leave it with none either. It’s ambient and droney, but offers infinite layers. The Great Lake Swallows doesn’t really fit anywhere in terms of genre, and this is very much a positive. Sometimes, music simply is.

The Great Lake Swallows is a graceful and co-ordinated suite in four parts, and finds the duo creating sonic interplay that displays a certain musical connection, even telepathy. Collaborations of this type, which find musicians with such different approaches (and modes of instrumentation) requires a certain intuition to achieve coherence.

Its brevity contrasts with its scale and scope. The four tracks have a total running time of a shade over 25 minutes, but the aching cello bends and melts over hushed, brooding atmospherics to create compositions of great atmospheric depth and imbued with great significance. At times manifesting as dark portent, others seeping sadness without words to describe it, the layers build and pull at the senses almost subliminally.

The press release informs us the album was recorded in Charleroi, Belgium in 2015 during a video installation with Sandrine Verstraete, and that the music was created using field recordings, processed guitar and cello and serves as a soundtrack to the video of the same name. And the soundtrack qualities of the compositions are very much evident: the parts bleed together to forge a single, continuous piece, which slowly and subtly transition between place and mood.

On ‘Part 3’, a low throb slowly oscillates beneath the ebb and flow of strings that weft and warp, before ‘Part Four’ forges an expansive vista of surge and swell, as ghostly voices echo in the shadowy background. The effect is haunting, but also beautiful and as a whole, the work is deeply evocative. The Great Lake Swallows doesn’t just occupy space, but creates it.

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Gizeh Records – 13th October 2017

Christopher Nosnibor

Otto Lindholm is based in Belgium. More pertinently, he plays double pass and is an electronic producer. Divided into four colour-inspired, long-form movements, the press release informs us that Alter takes off from Lindholm’s previous work (a self-titled album released in 2015), and ‘pushes the already abundant palette of sounds even further’. It also references Greek chamber-doom merchants Mohammad by way of a touchstone, but suggests that Lindholm’s latest may focus more attention on textures and melody.

Alter is very much a slow burn, to the extent that it crawls from the speakers with the first track, ‘Fauve’, which starts low and slow and gradually burrows deeper, with a long, low, resonant bass throb providing the undercurrent over which tremulous strings brood and sweep. ‘Lehener’ is sparser and more tentative-sounding, exploring more the space between the sounds, as the notes pulse and decay. The bass rolls in by stealth, before a range of sounds, all attenuated to different tones, textures and frequencies, as well as modulations. The notes rub against one another as they shift in different times and spaces.

At ten and a half minutes, ‘Alyscamps’ is the album’s longest piece, and Lindholm explores dark spaces through shuddering sonic shapes in slow collision.

The final composition, ‘Heliotrope’, is perhaps the most conventionally ‘orchestral’ of the four, and the one which offers the lightest of mood, with bowed bass and strings combining to create a delicate and graceful feel. But there’s a magnificent fluidity about Lindholm’s compositions, and these moments of levity emerge but briefly from the sombre atmospherics, before being subsumed into shades of grating dissonance.

The structures may be obscure, but there is a definite sense of form lurking behind the shape-shifting ambience of Lindholm’s work. And through those near-subliminal structures, which tease at the senses and inch into the subconscious, Lindholm achieves something which reaches beyond the listening experience and into another realm altogether.

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Otto Lindholm – Alter

Gizeh Records – GZH73 – 1st September 2017

Christopher Nosnibor

Because this is a Gizeh release, it’s beautifully presented, housed as it is in tri-fold card sleeve with subtle, minimal artwork. While the front cover is difficult to be certain about, the interior tryptic shows a panoramic landscape of a wide glacial valley somewhere in Britain. Observing the division of the fields draws the attention to the relationship between physical and human geography, and this all feels somehow fitting in the framing of Through the Sparkle.

And because this is a Gizeh release, the music it contains is delicate, haunting, sparse yet rich and contemplative. Through the Sparkle sees French ensemble Astrïd collaborate with American pianist and composer Rachel Grimes to spin seven contemporary classical compositions which massage the senses almost with the softest of touches.

Through the Sparkle is not an ersatz pastoral suite, but does keenly conjure a certain, if indefinable, natural spirit. The piano work is exquisite in its subtlety, rippling gently beneath tapering woodwind on ‘The Theme’, while on ‘Mossgrove & Seaweed’ notes lap evenly and lightly to create an air of lightness, of rapid yet serene movement, natural and fluid. It’s a flickering, shimmering sonic tension that shifts and changes shape over its duration,

Nothing about these pieces feels forced or intrusive. They’re the sonic evocations of dappled shade through leaves on a sultry, sunny August afternoon, a light breeze and the full spectrum of verdant hues – albeit with the shades muted by the distance of fading memory. There’s nothing about Through the Sparkle which feels overtly or calculatedly centred around a sense of nostalgia, but a sad, aching beauty – intangible but distinct – will inevitably evoke a certain wistfulness. And so it is that a degree of melancholy drapes itself around the hushed, rarefied atmosphere of the compositions on Through the Sparkle.

A sombre tone overarches the slow march of ‘The Herald en Masse’, which slowly breaks into an uplifting wash of rhythmic sound. It may not have quite the intensity of Swans, but it’s in the same sphere as it rises toward an almost transcendental sway.

Hesitant notes hover at the start of ‘M5’ and the rich, resonant and loamy tones call to mind latter-day Earth. Its sparse arrangement conjures a spacious atmosphere and pulls the listener’s attention into the details of the tone, texture, reverb and a sense of the individual notes breathing in the space around them.

‘Hollis’ brings a graceful melody that’s sad because it’s beautiful, while ‘M1’, the second-half counterpart to ‘M5’ – feels very much about the space between the notes as brief notational sequences cascade from a softly picked acoustic guitar before silence follows. There’s something almost flamenco about the picking of the strings and the way the notes resonate against one another.

The mournful tones of the final track, ‘Le Petit Salon’ are haunting in their understated discord, as piano and strings drift in different directions over percussion which fade in and out. It’s all about progression and movement.

Through the Sparkle balances shimmering, softly shining upliftingless with shifting shadows. It’s an easy yet rich listening experience which brings with it a sense of the way in which music can enrich the soul.

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