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12

Mar

2013

Interview: Alamaailman Vasarat

By David Smith. Posted in Folk, Interviews, Jazz, Musicians, Rock, World | 1 Comment »
Alamaailman Vasarat

Alamaailman Vasarat

 

I reviewed here the most recent album by Finnish band Alamaailman Vasarat. Following that review, Stakula, the band’s leader, kindly agreed to an interview, offering some insights into the processes behind the music.

Valta is an addition to what by now is a substantial body of work, and Alamaailman Vasarat has established a distinctive sound. Has anything changed on this album compared to previous releases?

The most obvious changes were in the lineup. Before the Valta sessions, our new drummer Santeri Saksala had already performed with the band for a year, much to our enjoyment. The live performances really tightened up and had a whole new level of energy. In the Valta sessions, his knowledge and passion for the drums as instruments made a huge difference to album sound, not forgetting some of the most memorable improvised moments, like in the opening track “Riistomaasiirtäjä”. His contribution has made a huge impact in the overall sound of the band and we’re very happy to have him on board.

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5

Mar

2013

Medieval England

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

A History of Classical Music through Recordings: Part 8

Worcester fragmentsWorcester Fragments”. Orlando Consort. Amon Ra

There’s not much extant music from the 14th century or earlier that’s specifically English. Under the Anglo-Saxons in the 10th and 11th centuries, a repertory of tropes for Gregorian chants was developed, with examples surviving today in manuscripts from Winchester and Canterbury. Among the changes brought by the Norman conquest of 1066 was the replacement of senior clergy by Normans, who imported their own liturgical traditions and introduced what is now called the Sarum rite. This rite was melodically similar (though not identical) to the Roman rite and included certain unique prayers as well as locally significant additions to the calendar. Thanks to the Normans and their successors the Plantagenets (who came to power in 1154 with the accession of Henry II), England was now closely linked to France, politically and culturally. We saw in Chapter 2 that Anonymous IV, the key source of information on Léonin and Pérotin, was an Englishman, and in fact the earliest surviving version of the Magnus liber organi of Notre Dame is one produced for the Augustinians of St. Andrews, Scotland. English composers seem not to have been especially interested in abstract theories of music compared with their French counterparts, however, and a distinctive English musical voice began to develop during the 13th century, one significant feature of which was a preference for thirds and sixths that may reflect an earlier Scandinavian influence. Unfortunately, the Reformation of the 16th century resulted in the destruction of many manuscripts, and the only records of English polyphony in the 12th, 13th, and 14th centuries survive in fragments. The “Worcester fragments” are individual leaves from manuscripts used in Worcester Cathedral; they survived only because they had been recycled for book-binding, and in the 20th century they were gathered together to represent what scholars believe to have been a very rich repertoire of polyphony.

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Grandmaster Flash & The Furious Five

Some facts about me: I’m white (a full fledged WASP actually); I’m middle class; I’m in my 30s; I’m a father; I live in the midwest; and I love hip hop.  It’s that last one that surprises people.  Due to the first five things listed I’m not supposed to like hip hop, even though I’m a huge music fan.  Nonetheless, whether it’s Golden Era East Coast, hardcore West Coast, southern, indie, or otherwise, if it falls under the hip hop umbrella there’s a good chance I listen to it.

The simple reason people are surprised by my hip hop fandom is it’s not ‘my’ music.  Hip hop, rose from the streets to tell the stories of the street.  Meanwhile, I’m about as ‘street’ as a labradoodle, and can’t pretend to relate to hip hop’s stories through personal experience.  Those stories, or at least the ones many people identify as wholly representative of hip hop, are largely made up of hustling, gang banging, and the like, and involve violence, drug dealing, misogyny, and other things utterly alien to my suburban, midwestern upbringing.  Obviously songs of this type are a subcategory of the broader hip hop spectrum, but the real problem with the assumption that I wouldn’t be a hip hop fan is the underlying presumption that just because I haven’t personally experienced these things I have no interest in the art that is being created as a result.  Good art should challenge its audience in some way and hip hop often does so by confronting its listeners with hard truths.

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23

Jan

2013

Top 20 of 2012: Stephen J. Nereffid

By Stephen J. Nereffid. Posted in Analysis and Opinion, Classical, Reviews | 3 Comments »

This is the first time I’ve compiled a personal best of the year, and I realise the resulting list says as much about my buying habits as about my taste in classical music. There’s little you might call the mainstream classical repertoire, because I don’t often look for more than one recording of a work, and a tight budget has meant some higher-profile releases never reached my ears; moreover, I’ve also been filling gaps in my collection with older recordings rather than buying new ones. So, give me a month and a couple of hundred euros and it might be a very different list. But let’s stick with the excellence at hand. The order of the list has changed repeatedly during the compiling, and would presumably continue to do so if I didn’t stop now.

Adams Harmonielehre1 John Adams: Harmonielehre – Michael Tilson Thomas, San Francisco Symphony (SFS Media). In the early 90s, I discovered the music of Gustav Mahler and Philip Glass at roughly the same time. What I didn’t know then was that a few years earlier John Adams had combined the two (and plenty more besides) in Harmonielehre. The title comes from the treatise of the same name by Schoenberg, but Adams’s music is a gleeful rejection of Schoenberg’s aesthetic, a grand mix of influences and references that constantly surprises.

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Prince Tickets

As Atmosphere noted in their song “Shhh”, there isn’t a lot to brag about in Minnesota.  It’s cold, there aren’t really any tourist destinations (sorry Mary Tyler Moore statue) and the popular sports teams are varying levels of terrible.  One thing we do have, though, is the Purple Yoda himself: Prince.  Prince Rogers Nelson was born in Minneapolis and while he has lived outside the state, Minnesota has always been his home.  That said, Prince hasn’t performed in Minnesota since a run of three shows at various venues in 2007.

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17

Jan

2013

Top 20 of 2012: Kezzie Baker

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

I will admit it.  At the end of each year, I attempt to come up with a “best-of” list of my own but struggle to identify even a handful.  This is partly due to the fact that I am so bad about paying attention to the actual release dates of albums that I will invariably include several recordings that are older than I thought.  This time, however, I had no trouble at all.  2012 proved to be a stellar year for releasing good music.  Here are my picks for the best of the best, in no particular order:

 

O’ Be Joyful by Shovels & Rope (Dualtone Music Group).  (AMERICANA)  Shovels & Rope is Michael Trent and Cary Ann Hearst, a husband-and-wife duo.  Their website says they “sing harmony driven folk, rock and country songs using two old guitars, a kick drum, a snare, a few tambourines, harmonicas, and maybe a little keyboard sometimes.”  There’s plenty of that on O’ Be Joyful, plus fiddles, banjos, and some wonderful, slightly off-kilter horns that take the genre to a new level (“Hail, Hail,” and “Tickin’ Bomb”).  Clanky percussion is prominent on most of the tracks.  Songs like “Carnival” demonstrate the duo can dazzle with slow-tempo ballads, too.  It’s just quirky enough that it may not be for everyone, but if you like an old-timey country sound with a rockin’ edge to it, this album just might be right up your alley. ( Listen to samples here.)

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Here it is finally, my list of the best of what I found among 2012’s new releases. (I found a lot of great jazz from before I was born too, but that’s another story.) I no more listened to everything out there than anyone else did, but these are releases from 2012 that I listened to repeatedly and expect to be returning to in 2013 and beyond. The exact order is arbitrary and could change on any given day, though albums are probably roughly in the right quarter of the list. I’ve included at the end an honor roll of another 20 that did not quite make my list but were also greatly enjoyed. After all, I think the main function of lists like this is help folk find things (at least that’s how I use all the other lists out there).

Pjusk300x300
#1 Pjusk – Tele
Norway’s Pjusk have become one my favorite ambient/electronic artists on the strength of three stellar releases. Tele (full review here) takes us deep into the glacial cold of northern Norwegian landscapes – the tracks are themed around layers of rock and ice. Deep in the earth, we are taken on a dark and resonant atmospheric journey that ends in light and life. Creation is not all sunlit beaches, and this release gives us a masterful aural tour of its frozen recesses.

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It’s the time of year when folks post their “Best of” lists, and MiG is no exception.  So without further ado, here are the Top 20 albums (and some others that deserve recognition) according to Craig McManus:

Top 20

Purity Ring1. Purity Ring – Shrines: 2011 introduced us to Purity Ring through the singles “Ungirthed”, “Lofticries”, and “Belispeak”, and each of these songs could have made my best of list. Accordingly, I was highly anticipating the release of the band’s debut full length. When news broke that each of these songs would be included on Shrines, however, I grew concerned that Purity Ring didn’t have the depth of quality for a full LP. Obviously, Shrines’ placement on this list demonstrates that my concern was unfounded. With tracks like “Obedear”, “Fineshrine”, and “Crawlersout” added to the early singles, Purity Ring created a dark synth pop gem. The only real negative to the album is the inclusion of the frankly dreadful, “Grandloves”.

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14

Nov

2012

Trecento Italy

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

A History of Classical Music through Recordings: Part 7

Jacopo da Bologna: Italian Madrigals of the 14th Century. Ensemble PAN. Ars Musici

We’ve seen already in this history that Dante Alighieri (c1265-1321) was a great admirer of the troubadours, and this opinion held true among the Italian aristocracy generally. Troubadours and joglars, including those fleeing the Albigensian crusade in the early part of the 13th century, had been welcome at the Italian courts, and the local musicians who succeeded them not only imitated their musical style but also continued to set verses in Occitan. Aside from the spiritual laude there was no tradition of Italian song in the vernacular. Around 1306, Dante wrote his treatise De vulgari eloquentia, in which he cited the troubadours as well as classical poets as exemplars in his attempt to devise rules for the creation of vernacular poetry. He also suggested that poetry and music should be distinct – that profound poems of the high style shouldn’t be set to music because this would distract from the text, whereas pastoral, descriptive poetry would be ideal for those who wished to compose great music. It’s not until the 1330s that we see the flowering of vernacular Italian art song, in the form of a genre called the madrigale (which may be translated as meaning “in the mother tongue”), practiced most notably by Jacopo da Bologna, Giovanni da Cascia, and Maestro Piero in the northern cities of Verona and Milan in the 1340s and 1350s. In its formal structure, the madrigal comprised several three-line stanzas, each of them with the same music, with a short ritornello to conclude, this being one or two lines with new music and a different meter; madrigals invariably had a rustic subject, inspired by the bucolic images of classical poets such as Virgil. Unlike vernacular songs elsewhere, the madrigal was a polyphonic form from its inception, although it’s not certain whether it evolved from monophonic songs with accompaniment or had its origin in 12th-century conductus, which it in some way resembles. One notable musical feature of the madrigal is the presence of long melismas at the very start and very end, but not in between so that the text could easily be understood. Related to the madrigal was the caccia, written for two equal voices in canon, often with an accompanying instrumental part; although the caccia had the same poetic structure as a madrigal, musically it was quite different.

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Kane Ikin – Sublunar

The opening track of Sublunar, Kane Ikin’s debut full length release on 12k, clearly announces the theme and aesthetic of the album, and at the same time sets the standard very high for what follows. The album title places us on the ground; the track title, “Europa”, directs our gaze toward the moons of Jupiter, Saturn, and Uranus (Io, Titan, Hyperion, Rhea, and Oberon are still to come). The track opens with a gently oscillating wash of haze and static, out of which a hesitant, lurching rhythm emerges, sounding like something assembled from various sources and precariously held together by sticky tape and string. The rhythmic effect is somewhat reminiscent of some of Giuseppe Ielasi’s off-kilter beats. A wobbly, ghostly, faintly choral note like a decayed tape recording of music from a decades-old science fiction movie adds a mournful melodic line and a further duality – are we listening to signals from distant moons (as the accompanying video seems to suggest) or the voices of our own past dreams of the future?

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