I have mixed feelings about the newly robust editorial side at Bandcamp. I’m a fan of the site in general, and have worked with the talented new editor in the past (and have written something for the site that was apparently killed, likely due to the subject’s irrelevance). They are covering a lot of music, which is good, but the shotgun approach has so far been highly promiscuous and stretched thin, pushing the views towards the consumer rather than the content of the music.
But here’s one that they got (in my totally self-involved ass-holish opinion) right. This new release is excellent synthesizer music, with not just a classics sound but the classic open-eyed, optimistic view of the future. Ignore the editorial content and just listen (and buy).
The collaboration between two generations of Buchla enthusiasts is soothing and unsettling all at once.
via Album of the Day: Kaitlyn Aurelia Smith & Suzanne Ciani, “Sunergy” — Bandcamp Daily
A short month perhaps, but no concessions the number of days: in this year’s leap-month of February, I listened to 38 recordings, making a total of 94 for the year so far. My current pace will have me covering 564 records that are new/recent releases for this year, a little under what I heard last year.
That pace will change, of course. In February, I spent considerable time listening to Beethoven symphonies and string quartets in my collection, and also spent some time with Sibelius and Bruckner and Thelonious Monk. Of the new music, and along with the Recordings of the Week series, my favorites for the month were:
Here’s the February 2016 Listening I use for details, for the curious. I encourage you to check out any and all of the above releases, and happy listening.
Best Downtown Music 2014
Best New Music Albums 2014
This is the second half of the classical list, music that has common origins in the Western tradition, in the expansive sense of music that began with a social purpose and then developed an abstract movement that we generally call classical music. Since the turn of the 20th century, and especially since after WWII, that tradition exploded into myriad pathways that moved along several lines—experimental, avant-garde, gestalt world music, non-jazz/non-classical improvisation, instrumental rock-based music, electronic music—that have created a large-scale genre that, as a short-hand, I’ve started to call the “downtown international” style. It’s place where musicians coming out of multiple traditions meet through a common set of values. They are not there to make hybrid, synthesized music, but to add their own ideas to a general pool, out of which truly new music is constantly growing. This is also the music that first my personal taste and compositional and aesthetic values most closely, and is the hardest yet most exciting list to compile.
You can buy these albums here
, except where otherwise noted
- Tyshawn Sorey Trio, Alloy. My personal favorite and overall best record of the year. One reason for that is the musical ideas inside it are so deep and powerful that they’re a little bit frightening, it’s a large universe in which to lose oneself. Alloy is on a lot of jazz lists, but I can’t put it on mine: Sorey is most closely and accurately defined as a jazz musician, but this is an album, like his others, of his compositions, and there is so little jazz concept and aesthetic in them that they are pretty much sui generis. One of the fascinating features of his music is that, while he can be heard at the drum kit, the sense of rhythm as time is almost nonexistent (except in “Template”). The music is full of space, a sense that notes and events are placed intuitively (which I deeply admire, it’s extremely difficult to develop the ear and confidence to write such sparse yet finely structured music), the feeling of an internal journey without beginning or end. Feldman is the heuristic commonly applied to Sorey’s composing, but that’s misleading. Feldman, especially his mature music, wrote scores that are dense with activity. Sorey shares a taste for low dynamics, but the sparseness of his music sounds closer to Cage, only with an entirely different idea of expression. Imagine a Miles Davis trumpet solo removed from a tune, with the space inside expanded by magnitudes, and you get some idea of both the manner of this album, and how great the music is.
- Bora Yoon, Sunken Cathedral. Tremendously beautiful and involving. This is the audio portion of Yoon’s ambitious multimedia project that will appear at the Prototype Festival next month. The sound combines the purity of her voice. chant, electronic textures, folk instruments, spoke word, and more. Another concept that is fiendishly difficult to hold together, and the firmness of her form makes this exceptional.
- Tristan Perich, Surface Image. Perich’s work combines imagination and process: as his pieces go along, or as you see them in an installation, the path connecting conception, process and execution is always clear. That alone is both important and satisfying, but the results, like this mesmerizing, new post-minimal piece for piano and electronics, are great music in their own right.
- a.pe.ri.od.ic, Jürg Frey: More or Less. It’s a good year when I have to choose between this and Andy Lee’s album of Frey piano music, the difference being that I found myself listening to this set of amazing chamber pieces, in excellent performances, a little more often.
- Harry Partch, Harry Partch: Plectra and Percussion Dances. Self-recommending. This is the first complete recording of the title work, and the CD includes a spoken introduction by Partch that he delivered in 1953.
- Peter Söderberg, On the Carpet of Leaves Illuminated by the Moon. Söderberg plays the lute, and on this record he performs music by Alvin Lucier, James Tenney, John Cage and Steve Reich. That’s really all you need to know.
- Flux Quartet, Morton Feldman: String Quartet No. 1. Utter masters of this music. Flux followed up what is now an almost routinely great concert of Feldman’s String Quartet No. 2 with this release. The finest recoding of the String Quartet No. 1, and the finest traversal of the complete string quartet music by Feldman.
- Ursula Oppens, Bruce Brubaker, Meredith Monk: Piano Songs. Not songs, but piano music, with occasional shouts and yelps. Echt-Monk, the physical vitality of her music, the way the pianos sound like they are hopping and dancing, is a tribute to her compositional ideals. A little disorienting at first to hear her style applied to the keyboard, but it gets better with every listen.
- Dai Fujikara, Dai Fujikara: ICE. This is simply one of the finest collections of music at the cutting edge of the classical tradition that I’ve heard in years. Fujikara renders the densest and most complex ideas with complete clarity and control of his materials, and ICE plays the music like they’ve been working on it for years. Which they pretty much have.
- Sarah Cahill, Mamoru Fujieda: Patterns of Plants. Fujieda’s work is one of the most striking compositions in contemporary music. The music is literally organic, composed out of Fujieda’s recordings of electrical activity in plants. What comes out is music that has an uncanny feeling of belonging to every place and epoch, yet having no identifiable national or temporal features. It is truly strange and beautiful. Cahill plays it with the attention to detail and musicality that one usually hears pianists bring to Schubert. Not a complete set of this magnum opus, but the most extensive to date.
- Nils Bultmann, Troubadour Blue. A set of musical rich and beautiful viola improvisations that delve deep into the history of western music.
- Bernd Klug, Cold Commodities. A gripping, surprising, unique and accomplished album that combines found sounds, electronics and improvisation with tremendous rigor and expression.
- Asphalt Orchestra plays the Pixies: Surfer Rosa. An amazing record. These arrangements are imaginative sonic adaptations of the classic Pixie’s album, transforming the originals into something more complex and more consistently satisfying.
- Robin Williamson, Trusting in the Rising Light. A strange, entrancing disc from one of the founders of The Incredible String band. This is a collection of songs that, though originals, have deep roots in ancient memories and traditions. WIlliamson’s voice is ravaged with age, making the expression that much more effective. Fantastic accompaniment from Mat Maneri and Ches Smith.
- Lumen Drones. Post-rock meets Hardanger fiddle. Difficult to describe, the music drone based, full of rhythm and improvisation, tough and delicate at once. Must be heard, it’s completely wonderful.
- Carolina Eyck, Christopher Tarnow, Improvisations for Theremin and Piano. Much more than a curiosity, this is fascinating set. Eyck is a tremendous theremin player, with complete command of tone and texture. Mostly quiet and tonal, the playing is superb, don’t be thrown by the twee track titles.
- Battle Trance, Palace of Wind. I have the privilege of experiencing a performance of this piece by this quartet of tenor saxophonists, and it was jaw-dropping and powerful. Imagine Colin Stetson times four, playing non-stop for about forty five minutes with a romantic conception of transcendence, and you have some idea of the depths of this album.
- Travis Just + Object Collection, No Song. Downtown to the max, turned up to 11! The good natured aggression of this record adds a sense of fun, but the playing is purposeful, intense, and heavier than the doomiest sludge. (http://shop.khalija.com/album/no-song)
- Plymouth. The members of this band are Jamie Saft, Joe Morris, Chris Lightcap, Gerald Cleaver and Mary Halvorson. They play dense, lively, passionate, intelligent noise improvisations. Excellent in every way, and the best release so far from Rarenoise records.
- Thurston Moore/John Moloney, Caught on Tape. Loud, but delicate. The muscularity hides what, underneath, is a severe, even ascetic aesthetic, a search for beauty in the midst of conflict, like the edge of razor blade, shining through a pile of trash. Pretty much Moore’s finest moments as a guitar player.
- Dave Seidel, ~60Hz. As pure as music gets. Seidel’s pieces are made by combing sine waves and letting them play. Engrossing and gorgeous.
- John Supko, Bill Seaman, s_traits. This record is astonishing. I’ll refer you to Marshall Yarbrough’s article for the details, but this upends every idea of structure and form and makes it work. Hard stop listening to.
- No Lands, Negative Space. A prime example of the possibilities of electronic music: this band’s debut (mainly it’s Michael Hammond), is as abstract as Ussachevsky and as appealing as Tangerine Dream. Excellent.
- Guenter Schlienz, Loop Studies. A haunting exploration of looped acoustic instruments and electronics. The music seems to be coming from the type of future that the past imagined would arrive. (https://sinkcds.bandcamp.com/album/loop-studies)
- Philip White, Documents. Plastic, complex sound produced from the raw musical data extracted from a series of well-known, popular recordings. (https://philipwhite.bandcamp.com)
- Michael Pisaro, Continuum Unbound. Field recordings and instrumental music, listening across the three discs is a transporting experience. (http://michaelpisaro.blogspot.com/2014/05/continuum-unbound-fall-2014.html)
- Rand Steiger, A Menacing Plume. Electro-acoustic works with a classical feel of modernism. Steiger is fine composer and the pieces, including the superb title work and Résonateur, are played expertly by Talea Ensemble.
- Jacob Cooper, Silver Threads. There are many projects that combine voice and electronics, but they are rarely as accomplished as this set of electronic art songs, with the terrific Mellissa Hughes singing.
- Juan Bianco, Nuestro Tiempo. Electronic music from Cuba that might have been a mere object of curiosity, but Bianco, who was unknown to me when this arrived, is a serious and excellent composer, with a sense of vitality.
- Faures, Continental Drift. Like atmospheric haze composed of tiny, shiny crystals; pristine, warm, enveloping. (https://homenormal.bandcamp.com/album/continental-drift)
This is not the type of music in which there are frequent reissues, but notable this year is a Cello Anthology
, a box set of four CDs with a beautiful, thick book. This collects performances and biographical information of the new music cellist Charlotte Moorman
, without whom the musical landscape would be very different and far more impoverished.
Despite my [take on the devolution of the form,](http://www.brooklynrail.org/2013/12/music/the-danceification-of-electronic-music) available in the new issue of The Brooklyn Rail (where I am the newly installed Music Editor), electronic music as a serious compositional and aesthetic medium is alive and well. [This post](http://www.synthtopia.com/content/2013/12/21/the-resurgence-of-electronic-classical-music/?utm_source=rss&utm_medium=rss&utm_campaign=the-resurgence-of-electronic-classical-music) at Synthtopia opens up a window on some other leading practitioners, and there’s always this to keep you warm:
Question: Has the development of the means of making electronic music retransformed the sense of time in Western Culture from linear/progressive to circular/static? Discuss . . .
I’ll be at Roulette tonight for some old-time experimental electro-acoustic music.
The Times notes the passing of Bebe Barron, who, with her husband Louis, created the soundtrack for Forbidden Planet. Created is the appropriate word, not composed, since that’s what electronic musicians do, and what the Barrons did, literally and physically.
The obit gives good details. This was an era when electronic music was produced on tape with analog means, the sounds being physical materials that were arranged in space and time, as points on a stretch of tape. I first began learning electronic music at the cusp of two eras, connecting patch cords on a Buchla modular synthesizer by hand, routing a flow of electricity through various modulatory devices. I also took magnetic tape, razor blade and adhesive tape and sliced and recombined bits to give me new, physical shapes and sounds. And I also learned to program the Yamaha DX-7; that began a whole new era, and also enabled a lot of “haircut bands.”
Although I work exclusively with digital tools nowadays, and am enthralled by their precision, flexibility and power, I’m nostalgic for the hand-made aspects of electronic music. For any listener with interest in the genre, the soundtrack is great and enduring. It’s dated only in the sense that one wonders over the skill and imagination of the Barrons. Any electronic musician would be hard pressed to reproduce the fascinating, beautiful sounds they produced and the sense of dynamic space in which they deployed them. Their work is also a standout example of commercial goals and means can sometimes produce the most radical works.