Close Panel

2

Jul

2012

Review: Valta by Alamaailman Vasarat

By David Smith. Posted in Folk, Jazz, Reviews, Rock, World | No Comments »

Valta

Slumber takes you, and as time passes, you slip into a vivid dream. You are at a heavy metal concert, and thrill to the first deep and doom-laden, viscerally crunching chords. Then you realize that what you thought were guitarists have morphed into cellists, and as the tempo shifts into double time a saxophone adds a frenetic melody. As you look around you find that you are actually sitting outside a cafe in Eastern Europe, and what started as a metal band is now playing klezmer. Some villagers are dancing – somehow it doesn’t strike you as odd that they are dancing the tango, or that evocative middle eastern melodies drop in and out of the tune. You glimpse palm trees, and then hear a jazz ensemble playing somewhere behind you as a marching brass band passes in front, with heavy metal riffs returning to punctuate their melody. But as you turn to watch, you are sitting in the corner of a deserted café in which the pianist is playing his way plaintively towards closing time. In your dream all of this makes sense; the transitions are not jarring but part of an oddly continuous dream logic in which you are in constant movement toward a destination that is ever on the tip of your tongue, yet each passing location is oddly right and vivid.

Such is the experience of listening to an album by Finnish band Alamaailman Vasarat (which translates as “Hammers of the Underworld”). Alamaailman Vasarat create hugely entertaining instrumental music that draws from a bewildering variety of world music genres and fuses them within a progressive-rock-like inclination towards ever-shifting rhythms and bombastic flourishes.

Read more »


No Comments »

 

25

Jun

2012

Ars nova

By Stephen J. Nereffid. Posted in A History of Classical Music, Classical | No Comments »

A History of Classical Music through Recordings: Part 6

Philippe de Vitry and the Ars Nova”. Orlando Consort. Amon Ra (link)

In the 1320s, two Paris-trained mathematicians who were also musicians published similarly titled treatises that pointed to a new direction for composition: Jehan des Murs’s Ars novae musicae and Philippe de Vitry’s Ars nova. The essence of this “new art” – Ars nova has become the name given to the general compositional style of the 14th century in France – was a move beyond the idea of “perfection” associated with the number three. Where the Franconian system divided the perfect long into three breves and divided breves into semibreves worth one- or two-thirds of a breve, Vitry and Jehan argued that it was fine to have an imperfect long comprising two breves of equal length, or a breve divided into two equal semibreves, and a semibreve divided into two shorter notes (the minimum note length, or “minim”). Moreover, a composer could mix-and-match between the use of two or three subdivisions, so that a long might be split into three breves but the breve might comprise just two semibreves. The first compositions demonstrating these ideas are some by Vitry that appeared in a 1316 edition of the Roman de Fauvel, a satirical poem attacking the moral state of France at the time; this particular edition included some 169 musical items, both old and new, providing a kind of soundtrack to accompany events in the story. By freeing the rules of composition from the ideology of “perfection”, the Ars nova opened up a wide range of possibilities for rhythms, not least of which was duple time (one-two one-two) – not that duple time didn’t exist in music until then, but now there was a formal system for writing, and composing, in it. With shorter note values being used, the music could move at a faster pace, and the tenor part of a motet became relatively longer, such that it ceased to provide a recognisable melodic component and instead formed a structural foundation for the polyphony. This structure is reflected in a feature of the Ars nova motet called isorhythm, the use of repeated statements of one rhythmic pattern that didn’t necessarily correspond to melodic patterns. Initially, isorhythm was used only in the tenor, but it soon spread to the upper voices also, giving greater organization to the composition as a whole.

Read more »


No Comments »

 

29

May

2012

Concert Review: Soundset 2012

By Craig McManus. Posted in Concert Review, Hip Hop, Indie, Rap | 2 Comments »

Founded in 1995 in Minneapolis, Minnesota, Rhymesayers Entertainment has risen to the top of the heap of independent hip hop labels.  Over the years it has grown from releasing albums solely by its founders, to becoming the home base for most of the surprisingly fertile Minnesota hip hop scene, and finally to being the label home for albums by indie hip hop greats regardless of hometown.  In fact, since its founding, Atmosphere, MF Doom, Brother Ali, Aesop Rock, and P.O.S have all called Rhymesayers home.

Despite this success, Rhymesayers continues to expand as it follows its mission to put its “dreams, passions, and destinies in their own hands.”  One of those dreams is to continue growing hip hop in the Twin Cities area, so in 2008 Rhymesayers founded the Soundset hip hop festival.  Held on the Sunday of Memorial Day weekend, Soundset started in the Metrodome parking lot, but has since moved to Canterbury Park in Shakopee, Minnesota.

More important then the location switch, however, the last five years have seen Soundset grow beyond showcasing solely artists on the Rhymesayers label to bringing both titans and the next generation of hip hop to the upper Midwest.  2012 was no exception as Ghostface Killah & Raekwon and Lupe Fiasco joined Atmosphere as scheduled headliners while Action Bronson, Kendrick Lamar, and Danny Brown played earlier in the day with Rhymesayers’ own I Self Devine and Evidence.

Read more »


2 Comments »

 

The releases highlighted below are just some of the best-reviewed albums in the latest issues of International Record Review (May), Gramophone (June), and BBC Music Magazine (June).

Four string quartets by “Danish maverick” Rued Langgaard (Dacapo 6.220575) are a Choice of both Gramophone and BBC Music. In the latter, Stephen Johnson praises the Nightingale Quartet for understanding “the provocative vitality, the fragile romantic sensitivity and the striking intellectual independence behind it all”, while in Gramophone David Fanning notes that the quartet “throws itself into the music with a vehemence and sense of purpose”. Both of these magazines also praise pianist Yuja Wang’s “Fantasia” (DG 479 0052GH), a collection of her favourite encores; BBC Music’s Michael Church says that “Given that these bonnes bouches were never designed to be consumed in bulk, this young virtuoso has pulled off a remarkable feat”, and Bryce Morrison in Gramophone says “Wang is clearly one of the major talents of our time and her playing throughout is of an astonishing verve, style and dexterity”. Morrison also finds plenty of praise for the latest from Olli Mustonen, a disc of Scriabin (Ondine ODE1184-2): “This is Scriabin as you have never heard him before, played by one of music’s most formidable and compusive free spirits… The music is made to leap flame-like and uncontained from the page”. Guitarist David Russell, too, is a Gramophone Choice with a disc of transcriptions entitled “The Grandeur of the Baroque” (Telarc TEL33223-02) in performances that William Yeoman calls “revelatory”; for instance, Russell’s performance of four three-part Sinfonias by Bach “is the epitome of clarity, grace, humour and melancholy”.

Read more »


No Comments »

 

The Blue Nature of Everyday

I confess that I had no plans to review this album. I only bought it in the first place because of a robbery. I learned from the ever useful Ambientblog that the head of a couple of netlabels had been the victim of theft and had lost, among other things, his laptop. Seeing that the person concerned was Leonardo Rosado, and that he was selling his newest album on bandcamp for a modest price to raise funds to replace his equipment, my attention was snagged.

Rosado curates the Feedbackloop netlabel, several of whose releases I have downloaded and enjoyed free of charge, including Rosado’s own 2011 release Opaque Glitter. He also runs Heart and Soul, which recently put out the wonderful poetry/jazz/ambient release Allegories by the Dwindlers, also on my shelf and much enjoyed. The fact that someone running two music labels in Portugal from which I had enjoyed several releases is working on a scale where the theft of a laptop is debilitating, that I would hear about it before too long in Michigan, and that I could immediately in a modest way help put it right by buying a fresh release on bandcamp highlights the potential of the netlabel world for human-scale connections around music. I was on board, and figured the music would be pleasant anyway. $7 later, The Blue Nature of Everyday was on my hard drive. (More below the player.)

Read more »


4 Comments »

 

7

May

2012

The 13th-century motet

By Stephen J. Nereffid. Posted in A History of Classical Music, Classical | No Comments »

A History of Classical Music through Recordings: Part 5

“Motetus”. Clemencic Consort/René Clemencic. Stradivarius (link)

Over the course of the 13th century, the main polyphonic forms, organum and conductus, declined in popularity to be replaced by a new form, the motet (this name being a diminutive form of mot, the French for ‘word’). To understand how the motet came about we must look back at a particular aspect of the polyphony developed by Leonin and the Notre Dame school: the clausula. This was a segment of organum in which a short piece of text, usually just a word or two, was sung melismatically using many notes while the tenor voice slowly sang the text once. Musicians began to replace the melismas with new texts that had some relevance to the words of the organum and that were sung syllabically. Clausulas were regarded as separate modules that could be inserted into an organum as needed, but this independence meant that over time they began to be sung on their own as a composition called a motet (which, you may remember, is what happened with the sequence in Gregorian chant). The new text and its music was referred to as the duplum or motetus, and there could also be another, separate but topically related, text on top of that, called the triplum, and there could even be a quadruplum. As the Clemencic Consort demonstrates on its album, new motet texts weren’t necessarily in Latin: while the tenor text remained a Latin phrase, the duplum (and triplum, if there was one) could be in French. And once the language switched to the vernacular, it shouldn’t be surprising that the topics should change to more secular concerns, and the lyrics resemble the poetry of the trouvères.

Read more »


No Comments »

 

Various Artists - Hidden Landscapes 2

There are so many compilations of electronically or classically tinged ambient music appearing these days, many of them for free, that it would be reasonable to wonder: why should I pay particular attention to this one? Let me answer that in two ways.

If you are already familiar with the recent outpouring of music that melds electronic, found sound, and classical elements into gentle, emotionally evocative instrumental vignettes, then there is a fairly simple answer to the question. You should get this one because you already know about the rewards to be found in giving yourself to the music of Marsen Jules, Talvihorros, Danny Norbury, Lawrence English, Konntinent, Pjusk, offthesky, Field Rotation, Ian Hawgood, and the like. Each of these, together with a few perhaps less familiar names, offers a strong contribution here; it’s an album full of very enjoyable pieces from folk who know what they are doing. You also already know that Hibernate and Audio Gourmet, the labels collaborating on this release, have a strong pedigree in this area and aren’t going to waste your time. In sum, if you like this genre, this is one of the good ones.

If the above names mean little to you, and you are a newcomer to the genre, this album would serve very well as an entry point. It showcases a representative range of approaches, and they are sequenced wisely, beginning with material that most will find tuneful and gradually moving to slightly more challenging sounds. If you’re open to exploring a little, here’s what I suggest you should do.

Read more »


2 Comments »

 

2

May

2012

John Fullbright – A Troubadour on the Rise

By Kezzie Baker. Posted in Blues, Folk | No Comments »

John Fullbright, Woodyfest 2011, Okemah, OK

“I have no doubt that in a very short time John Fullbright will be a household name in American music.” – Jimmy Webb

“[At SXSW], this young Oklahoman’s name was on everybody’s lips.” – American Songwriter

 

In a graveyard on the north side of the small rural town of Okemah, Oklahoma, where 23-year-old John Fullbright was raised (and still resides) are two tombstones marking the graves of two very different men.  One is on the east side of the cemetery; the other on the west. In between the two is where Fullbright says he’d like his own tombstone to be placed. Why? Because the two tombstones bear the names of the two most influential people in his life – his grandpa  and Woody Guthrie.  It is the subject of a song Fullbright wrote called “Tombstone,” one of the standout tracks on a live recording of a concert he performed three years ago at the Blue Door in Oklahoma City bearing the simple title of Live at the Blue Door.  It was not promoted nationally, but it was an attention-getter for those who heard it (it set sales records at the 2009 Woodyfest, the annual folk festival honoring Woody Guthrie), and Fullbright has continued to promote the album through a heavy touring schedule with his shows steadily gaining him a growing fan base one gig at a time.

The recording project was simple – a one-man show with just a voice, a guitar, and a harmonica, but lest you are thinking (like I was) that this by definition spells ‘boring’,  think again.   I was surprised at the depth and fullness that is generated by this one-man band and captured in the live recording.  Thirteen of its 17 tracks are Fullbright’s own compositions, and he writes surprisingly insightful and mature lyrics that belie his youth (he was a mere 21  years old then, but had already become a favorite at outdoor music festivals before he was out of high school).  He is able to create quite a sound all by himself, slapping the guitar strings with such fervor that the lack of a drumset is not even noticed, and gives a unique vocal delivery that makes the listener stand up and take notice.

Read more »


No Comments »

 

30

Apr

2012

Colin Vallon – “Rruga”

By Dave Sumner. Posted in Jazz | No Comments »

The ECM catalog is filled with piano trio albums of austerity and minimalism. For a piano trio to approach an album with a Doing More With Less minimalism is a daring venture, because the high risk is a drowsy album that ends up sounding flimsy and thin or, worse perhaps, lounge music for the late night dinner set. It’s not an easy thing to do, the peaceful piano trio recording.

The choice of notes has to be impeccable, since there ain’t gonna be as many to offer the listener. Honor has to be paid to the silence, and used as effectively as the sound made from the black and whites. Bass and drums have to be more than just tools of accompaniment, but in the framework of the quiet piano trio, they need to be sure to only use their Inside Voices. And then there’s the compositions themselves… it makes for great drama to witness the pianist furrow the brow and grimace and fire the inner core in the search for the perfect notes, but on a studio recording, none of that is gonna translate to the listener through the speakers if the tunes don’t have some spark of life, and all that dramatic minimalism will get drowned out by snores.

Read more »


No Comments »

 

“It’s breathtaking…The achievement here is enough to make the stars weep.” – Sarah Liss, cbc.ca

Heavenly – that’s a concise but accurate description of Tafelmusik Baroque Orchestra’s newest release, The Galileo Project: Music of the Spheres – a fusion of the arts, science and culture in the 17th and 18th centuries captured in an imaginative DVD and CD soundtrack commemorating Galileo’s first public demonstration of the telescope. It’s not only heavenly in its subject matter, but it’s pure heaven both visually and in an aural sense.   With the recent January launch of their very own recording label, Tafelmusik Media, the Toronto-based ensemble (touted by Gramophone as one of the world’s top baroque orchestras) place themselves at the very cutting edge of what they describe as the “classical online recording revolution” of the 21st century.   The new label’s first releases hit shelves on March 27, 2012, and include the debut of The Galileo Project.  It is Tafelmusik’s ace card and playing it now assures their new label gets off to an impressive running start.

The Galileo Project was conceived in 2007 and brought  to fruition in 2009 with its premiere performance at The Banff Centre in Alberta.  Since that time, Tafelmusik has been touring the world with performances before awe-struck audiences.  Now, for the first time ever, listening audiences everywhere can experience this one-of-a-kind production through DVD and an accompanying studio-produced CD of the gorgeous baroque music featured in the concert.  The DVD/CD set was co-produced by Tafelmusik and The Banff Centre and is being distributed by Naxos USA through the Americas and by Naxos Global Logistics in the rest of the world, as well as through most digital retail outlets.

Read more »


No Comments »