Sunday, June 02, 2019

(cribbed from my fb post)

fwiw, not that it's news of much import, I'm again planning to drastically scale down my reviewing activity. Hard to say how much, just that I'm less and less inclined to spend the time writing about work that doesn't *really* hit home (as is the case with these two). I've been turning aside more and more in recent months and expect that trend to continue. All of which is to say, dear musicians and label owners, please bear this in mind and act (or not) accordingly. I hugely appreciate your allowing me to hear so much amazing music over the years but can't promise anything in the way of returns for (at least) the near future. Too much reading, watching, painting, living and simply listening for pleasure to get done... 

Lance Austin Olsen - Look at the Mouth That Is Looking at You (Infrequency)

When I listen to a piece for the first time, I like to do so with as few bits of advanced knowledge as possible. I'll know the composer/instrumentalists, label, etc. but I'd rather not know the conception or "story" until later. With this work, conceived by Olsen (voice, guitar, amplified objects, field recordings) and wonderfully realized with Debora Alanna (piano, organ), Erin Cunes (voice) and John Luna (voice), I received a strong sense of narrative, of an epic journey of sorts, somewhere into the north. I flashed on William Vollmann's 'The Ice Shirt' a number of times. It stretches over 77 minutes, in three pieces titled, 'The Event', 'The Descent' and 'Lost' and among the many threads running through, three are sounds I think of as dockside, like ice-bound boats being softly buffeted against piers. How to describe? The keyboard parts are slow, rich and melodic, seeming like snatches of existing songs or hymns. Luna's voice is often listing words, as from an interior inventory ("deck...mind..sim..rah-sim...mind...") while Cunes sings clearly and ethereally. Voices appear like ghostly, hollow whispers, chilly and hard. Sometimes there are tinges of Ashley but more remote, odder.

When one reads Olsen's notes and comes to realize that the basis for the work was a stroke suffered by a friend of his, Craig, and that the piece is meant as a kind of portrait ("He is here--in these notebooks and in this score"), the sounds necessarily acquire whole other connotations, yet that initial (unsubstantiated) impression lingers, a kind of filter through which I hear the "real" meaning. I find this fascinating and hope Olsen doesn't mind my "input", so to speak, as listener. Whatever the case, it's a fantastic, enchanting, bitter, mysterious work, unlike anything I've heard in a while. Very special.

Infrequency Editions

d'incise - Assemblée, relâche, réjouissance, parade (Insub/Moving Furniture)

As has generally been the case in the last ten or so years, a new release from d'incise comes as a gentle and intriguing surprise. The disc is in two sections: a four-part suite titled, 'L'Anglard de St- Donat' and a two-part work called 'Le Désir' ('certain' and 'serein'). 'L'Anglard de St-Donat's four to six minutes portions are apparently based on the mazurka form, though this listener couldn't discern that relationship. Instead, we hear ringing, sometimes subtly piercing sustained tones derived at leas in part from bowed metal. As intense as they are, they're never without some kind of tonal basis, sometimes, as in the second part, even appearing in sequences of notes that might just about qualify as a melody (I imagine this is one evocation of the mazurka). The third has organ like chords billowing up gently and acquiring a bristly layer of fuzz before being responded to with patient, deep string plucks while the final section has clearer organ tones accompanied by a worried seesaw from bowed metal or string. The whole suite is heady, contemplative and absorbing.

'Désir' is a very different creature, performed live on "detuned/retuned" organ along with bowed metal sticks. On the first part, a steady, almost lilting three-note melody/rhythm is heard, a sequence that turns oddly queasy with the introduction of slightly off-pitch metal. One feels as though on a rocking boat, nausea filtering in around the edges. d'incise switches to a different three-note pattern a third of the way through, more propulsive, the music acquiring something of a Tony Conrad aura, the bowed metal sounding like axles struggling along under a heavy weight. The rhythm shifts once again in the final third (the pice runs 15 minutes) into a more sing-songy, stationary mode, content to wobble back and forth beneath the soft moans until cutting out entirely. Excellent work. 'Serein' is indeed serene in the sense that a consistent, single note is struck, about once every two seconds, over a steady reed bed, but the keening tones of the metal are more splintered, even anguished, writhing. Over the last minute, the organ disappears, the metal curling smokelike and acrid, into the sky.


Moving Furniture