For his debut album, Tel Aviv producer Yotam Avni is looking to combine two of his deep musical loves – Detroit techno and the sort of jazz you might hear on the ECM label. With that in mind, Kompakt is his ideal label home, and the Cologne label have been encouraging his solo output through a succession of well-received tracks and remixes. Avni is honing his sound, bringing it back to the elements – and Was Here, his first album after almost a decade of recording, is a clear statement of his musical identity.
What’s the music like?
The priority here is the rhythm, which Avni often sets out at the start of the track – but melody and texture come through as each piece develops to assume equal importance. There are some sultry atmospheres here, especially when the jazzier elements are introduced. The muted trumpet of It Was What It Was works very well, as does Free Darius Now.
A sparing use of vocals is also effective, meaning the guest appearances of Georg Levin (Island Hopper) and dOP (with trumpeter Greg Paulus on Just Another Day) really stand out. So too does Vortex, a really fine track that grows into its main feature, a hypnotic chant, creating a smoky atmosphere.
Does it all work?
Yes. This is classy deep techno but with a hot-weather twist, very atmospheric and with a few really nice elements worked in from other musical forms. Avni gets his rhythm tracks on the deep side and they provide a solid foundation on which he can always build.
Is it recommended?
Yes. Another good find for Kompakt! Highly recommended.
Matthewdavid’s Mindflight is the incredibly ambient extension of producer Matthewdavid‘s output. As a composer used to working across genres, this is the area where he really kicks back and lets things evolve at a very natural pace.
The EP comes with a message from Matthewdavid, saying that ‘With your help we will overthrow corrupt capitalistic systems of greed and exploitation in favour of life and love for the benefit of all beings. We will end all war and hierarchy. Love is the gateway to paradise. Love is your way.’
What’s the music like?
The above sentiments come through with the music – but to be honest this is music that is best experienced with the objective of getting a completely empty head. Previous albums from this source have been capable of doing exactly that – and this half-hour set of three continuously mixed and evolving tracks hits the spot unerringly.
It always takes a little while for the dust to settle, but when it does the sonic beauty of these electronics can be appreciated. The sound world is definitely an outdoor one, with a soft breeze and cool blue colours. Best to treat this is one continuous composition with three blissful ‘movements’, and the music will make its most effective impact.
Does it all work?
Yes. With no beats in sight and no specific harmonic movement, this is nonetheless music that continues to evolve. It is the aural equivalent of sitting on the beach and staring at a calm sea, inducing all sorts of stationary and soothing thoughts.
Is it recommended?
Yes, effortlessly. Previous visitors to this source will know just what to expect – and they won’t be disappointed. If you’re new and fancy some warm-weather tranquillity in musical form, then look no further!
Yuja Wang (piano), Los Angeles Philharmonic Orchestra / Gustavo Dudamel
John Adams
Must The Devil Have All The Good Tunes? (2019)
China Gates (1977)
Deutsche Grammophon 4838289 [32’05”]
Recorded November 2019, Walt Disney Concert Hall, Los Angeles, USA
Written by Ben Hogwood
What’s the story?
Must the Devil Have All the Good Tunes? is John Adams’ first major work for piano and orchestra since 1997. Its world premiere took place in 2019, with dedicatee Yuja Wang taking the solo part in the Walt Disney Concert Hall, Los Angeles, the city’s Philharmonic Orchestra conducted by Gustavo Dudamel. The same team are on the money here with the first recording of the substantial new piece – with a contrasting makeweight, as Wang offers one of Adams’ much loved shorter works, the solo piano composition China Gates.
What’s the music like?
In a word, dynamic. The composer’s direction for the first of the three movements of Must the Devil…says a lot – Gritty, Funky, But in strict Tempo; Twitchy, Bot-Like. It describes the music perfectly, for as Yuja Wang drives the music forward with big, block chords there is a great deal of positive mechanical energy – and indeed a bit of funk. The ‘good tunes’ are not quite so obvious, with the through-composed nature of the piece masking any obvious hooks, but there is a strong and assertive drive forward, like the relentless surge of traffic along a Californian freeway.
The frenetic activity subsides towards the end of the first movement and we get a closer look at Adams’ soul, glimpsed through luminous string textures and sensitive, nocturnal piano writing. The mechanical grind is temporarily forgotten and a tender, thoughtful mood evolves. This leads to the Gently, Relaxed direction, which effectively becomes the concerto’s slow movement, with music of serenity and beautiful colours. As the movement progresses the lines become a little more angular, the strings and piano working together while complemented by softly spoken wind and brass choirs.
Then the energy returns, and we move into the finale with clumps of percussive chords from Wang, leading the orchestra in a section marked Obsession / Swing. The cross rhythms sway, generating exciting momentum between piano and orchestra, and Wang throws her all at the piano as it issues massive, repetitive statements, the obsession growing ever greater towards the end and the sound of a bell, with which Adams brings an end to the three rounds.
China Gates is a much-needed repose, its meditative thoughts given in an unbroken, fluid stream.
Does it all work?
Yes, and is hard to fault in this performance. The musical language is familiar – recognisably John Adams in its long lines of busy activity – and it could be argued some of these statements are familiar too, closely related to previous large-scale utterances. But the performance is ideal, a white knuckle ride in the faster sections and a cool reverie in the memorable slower parts. China Gates is the ideal foil.
Yuja Wang is brilliant throughout, a whirlwind of energy in the fast music of Must the Devil…and a model of sensitivity in the quieter music.
Is it recommended?
Fans of Adams’ music will not hesitate – and nor should newcomers either, for not only is the music very listenable it is presented in terrific recorded sound. A DG release with all the fireworks for sure, and if there are no recognisably good tunes to hum afterwards there is plenty to enjoy. John Adams’ positive energy wins through once again.
This second EP from Wolfgang Voigt‘s GAS project actually dates from 1999, when it was released on Mille Plateaux, but now it has been ‘transferred’ to his home Kompakt label. There are only two tracks but half an hour of music, released in part to offer some comfort in isolation.
What’s the music like?
This is music for mindfulness. Tal 90, the first track, feels like it is played on vinyl, with the reassuring clicks and scratches serving as a background to Voigt’s fuzzy overall sound. His concept is orchestral, with serene violins high in the mix and a soft but majestic line for horn. There are no drums but the music floats in suspension, resulting in a comforting feeling for the listener.
The second track Oktember is much darker and denser, and has an immediately subtle menace to its sound. The steady tread of a four to the floor rhythm underpins thick, brooding chords, which are still strangely comforting despite their straight-faced approach.
Does it all work?
It does. GAS is an incredibly well-revered project and in all recent ambient music it remains one of the most recognisable styles. Time really does stand still when Voigt finds the right level of musical hypnosis, and Oktember finds him towards top form.
Is it recommended?
Yes – and if fans don’t already have it they will want to snap up these two recordings. They work particularly well as early morning or late night balm.
It may have been a while since we last heard from Swedish duo I Break Horses, but they have used the time productively, despite several obstacles in their way.
Principle songwriter and singer Maria Lindén was working in cinematic accompaniments to her own favourite films when she realised the instrumentals were well on the way to becoming the basis for a new I Break Horses album.
The band’s plans were thwarted, however, by crashed hardware – two years of work lost – and collaborations that didn’t quite work, meaning Warnings took a while to break cover. It does however include the fruits of Lindén’s film scoring, with three instrumental interludes to complement the broad canvas of the songs.
What’s the music like?
The first since 2014’s well received Chiaroscuro, Warnings is another winner – and draws on the styles used in that long player. The band are at ease working in larger song structures, and as the epic nine-minute opening track Turn unfolds in its deceptively languid triple time there is an exquisite tension between the well-crafted production and Lindén’s glacial vocals.
The musical secret to their success lies in the heart-shifting changes of harmony that plumb the emotional depths. The macabre I’ll Be The Death Of You has these in abundance, despite its premonition, while Baby You Have Travelled For Miles Without Love In Your Eyes also moves in mysterious ways, the slow and stately shifts in harmony matched by a full bodied percussion section. Lindén’s vocals here are a little reminiscent of Lana del Rey, while the production often brings Cocteau Twins to mind – and label mates Beach House, whose producer Chris Coady is utilised here.
Elsewhere the glittering synths and quickfire drums of Neon Lights rush by, in complete contrast to the stately vocals, while Death Engine is a thing of wonder. Again utilising a big drum track, and enough reverb for an aircraft hangar, it has beautiful vocals to fit its grand designs, but moves up a level when a softly undulating riff emerges just over halfway through.
The instrumental interludes are short mood pieces, the last one leading to a similarly short coda, Depression Tourist a block of vocoded thoughts to sign off on.
Does it all work?
Yes. Although I Break Horses have an established way of writing it is very distinctive, so they are far from one-trick ponies. There is a lot of emotion here, too, despite the sometimes deadpan nature of Lindén’s vocals. She holds a note with husky beauty, part of the overall sound which the listener can easily dive into. Final track Depression Tourist feels tagged on, but by then the album has already made its impact.
Is it recommended?
It is. Warnings may be a deeply serious, even moody album – but it is an ultimately uplifting one too. Despite its ominous titles and subject matter the dreamscapes this pair can create leave the listener in elevation.
Arcana.fm 