American pianist Bruce Brubaker is one of those artists whose every move is worth monitoring, for his musical quests bring many rewards.
Brubaker is perhaps best known for his work with the music of Philip Glass, John Cage and Meredith Monk, but now he makes a very intriguing turn in the direction of Brian Eno, creating an album for the InFiné label that will include a selection of ambient music, including Music for Airports.
The press release asks a question: “Can a single instrument convey ambient music originally made through studio techniques and tape loops? Eno Piano is a companion to Bruce Brubaker’s acclaimed album Glass Piano (2015) — even the two album covers are companions. Named by Pitchfork “one of the most exciting pianists in the contemporary American classical scene,” Brubaker, in Eno Piano, shows that just as the studio can be a musical instrument, a single musical instrument can be a studio.”
Umdrehen is a word that denotes a twist, a turning around, a reverse – and the name of Thomas Fehlmann’s new album.
It is effectively a title that gives Fehlmann free musical rein on a 40-minute set of musical experimentation. He refers to his approach as ‘generative music’, with the element of chance playing a role in his choices.
What’sthemusiclike?
Not as playful as the above description might suggest. In fact some of this album operates under a dark cloud, wrapped in an ambience that can be cloying.
That said, there is a good deal of invention here that makes its best impression on headphones. Having established the dark, brooding textures, Fehlmann adds a shuffling beat and semi-industrial field recordings to Gelbe Kurve. There are some unnerving moments, such as Steinwurf, while Doppelherz opens out to a much wider expanse, offering a halo of light around the music. By contrast Feuchter uses mottled chimes, which prove to be comforting yet weirdly eerie. The delicate exchanges of Gehupft suggest the chance elements more, with a cold intimacy, while the soft hues of Prenzlau an sich are complemented with foreground chatter.
Does it all work?
Largely – though the feeling does persist that Fehlmann is in search mode, never quite pinning down a style of music to settle on. Because of that Umdrehen has a fleeting, fitful ambience.
Is it recommended?
It is – and Umdrehen is certainly an interesting addition to Fehlmann’s impressive discography, if not perhaps the most successful.
Anthony Wilson has a most impressive musical CV. While big band jazz played a pivotal role in his musical upbringing, he also has a great deal of experience in pop music, playing with Paul McCartney, Leon Russell, Randy Crawford and Willie Nelson among many others. To an extent, that is the ‘day’ job – for as a composer Wilson has an experimental and exploratory approach, looking for new sounds and collaborators.
To that end his new album Collidon finds him trying out new sounds and instruments in the company of fellow Colorfield luminaries Anna Butterss, Daniel Rotem, Mark Giuliana and Rob Moose. The producer is Pete Min – and Wilson helpfully lists all the instruments used in the recording (including the keyboards) on the album’s Bandcamp page.
For those wondering, as I was, what ‘collodion’ is, it is a highly flammable solution used in the manufacture of photographic film, or in medicine for sealing wounds.
What’sthemusiclike?
Open minded – but Wilson is not a composer to lose his focus or indulge himself by seeing how many genres he can tick off for the sake of it.
Instead, we are treated to an album that is an exploration for the performers and the listener. Much of it has an instinctive feel, but this is the environment in which Wilson is most effective, with a sixth sense that tells him when to stick and when to twist.
The balance of kinetic energy and contemplation is finely achieved, allowing Wilson time out on Heart Whispering but bringing urgent dialogue to The Daughters Of Night, an atmospheric compilation of nocturnal noises and melodic snippets.
The piano often acts as the fulcrum in his music, whether in the stately chords of Keeping, complemented by more mysterious gamelan sounds, or by providing the harmony for Arrival At Kanazawa, which develops above an urgent drum track to express profound thoughts on the guitar. Dream Oracle adds a breathy tenor saxophone (Daniel Rotem) to its explorations, while the title track features a beautiful, silvery string arrangement executed by Rob Moose.
Does it all work?
Yes – though the feeling persists that Wilson could have enhanced the smaller tracks further, such as the glittering textures of Divine One.
Is it recommended?
It is, enthusiastically. An engaging and sonically rewarding piece of work.
In 1983, Cybotron made one of dance music’s landmark records. The single ‘Clear’ became a calling card for techno, a futuristic piece that still sounds new today. Now they are returning as a duo, original founder Juan Atkins teaming up with producer Laurens von Oswald but not Rik Davis.
A two-part EP, Maintain The Golden Ratio, is scheduled for release on the Tresor label on 13 October – and for now we can enjoy its lead track Maintain. Described as ‘a studied engagement with what techno was and should be, it is an atmospheric machine piece with strong breakbeat, busy electronics and moody backdrop. In other words, as the vocal goes, “We will maintain”…with the elements that made Clear such a lasting track largely present and correct. While not quite on that exalted level, it is still a fine piece of work. Now to see if there are more plans afoot!
British producer and composer Roger Eno has hit a rich vein of form in recent years – and his prolific writing period continues with the The skies, they shift like chords…, due to be released on Deutsche Grammophon on 13 October.
On the press release for The skies, they shift like chords… Eno describes the world in a dozen musical watercolours based on spontaneous sketches, tracing an evocative and thought-provoking path through sound and silence. “I think of music in visual terms. Perhaps here the chords could be the earth, the melody the trees rising above ground, and the atmosphere of floating guitar could be the sky. These three elements are different but interconnected.” He adds, “Most of my pieces are snapshots of things that were experienced in the moment,” says Eno. “How do you describe the world unless it’s in an instant? You can’t fix anything because everything is in flux, it’s changing and mutable.”
Here is the first excerpt from the album, Tidescape, in the form of a visualizer:
Arcana.fm 