Jessica Moss – “Particles” (CD Preview)

Jessica Moss.

 

On October 25th, Constellation Records will release Entanglement, the second solo release by Jessica Moss. A violinist and vocalist who is one of the central members of Thee Silver Mt. Zion Memorial Orchestra and co-founder of Black Ox Orchestar, Moss draws upon a prodigious range of influences: from the post-rock and avant-klezmer of the aforementioned groups, to drones and loops reminiscent of post-minimalism. Over the past year, she has honed the material of Entanglement at over eighty concerts, developing a side-long piece, “Particles,” and a suite of four “Fractals.” Impassioned, moody, and slow-burning, her compositions are some of the most compelling fare we have to anticipate this Fall.

 

Ghost Ensemble: We Who Walk Again (LP Review)

Ghost Ensemble - We Who Walk Again
We Who Walk Again
Ghost Ensemble
Indexical LP/Download

Since 2012, New York’s Ghost Ensemble has pursued a deep listening ethos that incorporates a range of repertoire, both pieces by ensemble members and works by composers such as David Bird, Kyle Gann, Giacinto Scelsi, and Gerard Grisey. Any ensemble in the US that references “deep listening” invariably is also interested in Deep Listening, the piece that evolved into a discipline and subsequent body of musical and theoretical work from sound artist Pauline Oliveros.

Since its inception Ghost Ensemble has been associated with Oliveros’ work, both her compositions and sound practices. It is fitting that We Who Walk Again, their debut recording, features the first studio recording of the Oliveros piece “Angels and Demons.” A text score from 1980, its primary guideline is as follows: “any sound that has been heard inwardly first may be made.” Players may take on the role of “Angels,” the meditation’s “guardian spirits,” or Demons, “individual spirits of creative genius;” they may also switch back and forth between roles.  Here the piece manifests itself in an initial testing out period of slow individual tones that is gradually varied by means of timbre, density, and use of dissonance. Starting in the Feldman realm of spare pianissimo fragments, a long range crescendo shapes the piece. It is enabled by successively more penetrating held pitches, extended techniques, syncopated percussion, and an eventual blossoming of rangy melodic gestures. A belated denouement supplies a few furtive valedictions, but no dramatic close is supplied (nor does one seem necessary).

The group’s oboist Sky Macklay is also a composer on the rise, with a number of high profile performances and commissions to her credit. Macklay’s 60 Degree Mirrors revels in extended techniques available to winds. Her command of multiphonics and microtones on the oboe is prodigious and she gives flutist Martha Cargo a detailed part as well. The piece also has spectral roots, with shimmering overtones, particularly “crunchy” upper partials, demonstrating an edgier side of the “deep listening” continuum. 60 Degree Mirrors is not just technically sophisticated; it has considerable dramatic heft and proves to be a thrilling listen.

Ghost Ensemble founder, accordionist and composer Ben Richter, provides the recording’s other piece, Wind People. More than double the length of the Macklay and Oliveros performances, it affords the group the opportunity to stretch out and engage in the shaping of a larger arc. Long glissandos played by bassist James Ilgenfritz provide a particularly resonant touchstone, and similar sliding tones from violist Hannah Levinson and cellist Maria Hadge underscore its structural character. Meanwhile, the winds explore all manner of overtones, sometimes punctuating the proceedings with held pitches appearing in contrast to the yawning slides, at others engaging in pitch bends of their own. Percussionists Chris Nappi and Damon Loren Baker provide under-girding drums, subtle yet insistent. Richter and harpist Lucia Helen Stavros sometimes pepper the texture with melodic gestures, but more often are the harmonic “middle” that sustains the fabric of the piece. Over time, sustain becomes a powerful force traversing all instruments and registers, and sumptuous overtone chords saturate the work. A coda provides a long diminuendo in which overtones fade into thrumming drums, drones, and string glissandos. Wind Music is a well-crafted and eloquent work.

Of Wind Music, Richter says that he sought to “draw a sense of peace and comfort from our smallness, transience, and fragility in the face of an overwhelming immensity, the music mirroring the constant ebb and flow visible when zooming in or out to quantum or geological time.”

Amid today’s tumult, drawing peace and comfort from deep listening is a worthy goal, one that Ghost Ensemble appears poised to attain often.

Tangents – New Bodies (CD Review)

Tangents - New Bodies - cover scan

Tangents
New Bodies
Temporary Residence Ltd.

Australian instrumental quintet Tangents return with their fourth album via Temporary Residence. It is their finest work in some time, with an even broader palette of materials and stylistic reference points that are adroitly incorporated. The combination of cello, especially favoring pizzicato, and synth melodies remains, but along for the ride are prepared piano sounds, angular bass interjections, and skittering beats. Electric guitar textures and and undulating patterning are propelled by muscular acoustic drums.

Indebted to post-rock, jazz, alt-electronica, and a dose of contemporary classical sounds, it transcends these various categorizations and their carbon dating to create music that is entirely fresh and of the moment. Recommended.

Mark Renner – “Saints and Sinners”

RERVNG11_DIGITAL_COVER_500px


On Febuary 16, 2018, RVNG Intl. digitally released Few Traces, a recording of rarities by Mark Renner. The physical release is this Friday (February 23rd).


Renner is an under-heralded icon of the Baltimore arts scene. A talented painter, printmaker, and musician, Renner’s work proved pivotal in the local community during the first early glimmers of post New Wave alternative rock.

 
Few Traces contains music from 1982-90. Built with a minimum of gear – a four-track recorder, guitar, and a Casio synthesizer – its songs and instrumentals are simply constructed but eloquent, tuneful, and charming in their immediacy. One can imagine college radio in an alternate universe spinning Renner’s “Saints and Sages,” “Half a Heart,” and “The Wild House” in heavy rotation. Given the resurgence of eighties synth pop, perhaps their time has come.


To garner some context for Renner’s work, Maia Stern has released a short documentary (embedded below). You can also check out streams of some of my favorites on the recording and there is a link below to purchase it via Bandcamp, as well as some information about charitable contributions that are being made from the release’s proceeds. Recommended highly.


 








“On behalf of Mark Renner, a portion of the proceeds from Few Traces sales will be donated to Ethiopia ACT, an organization committed to public health strategies to serve Addis Ababa’s community, under Come! Mend!, an initiative bridging RVNG’s work and interest supporting non-profit organizations and charities.”

Mike Donovan: “Sadfinger” (Bandcamp)

how to get your record played in shops


A preview track from Mike Donovan’s “How to Get Your Record Played in Shops,” which will be out on 4/20 via Drag City.


https://bandcamp.com/EmbeddedPlayer/album=3650878242/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/track=844659316/transparent=true/

 

TOUR DATES:
FEB 10 San Francisco, CA @ RPMetaspace (Closing Party for William Keihn’s “Trapdoor” exhibition)
MAR 1 Ojai, CA @ Ojai Rancho Inn
MAR 3 SF, CA @ RPMetaspace (Opening Party for Jesse Wiedel exhibition)
MAR 15 Oakland, CA @ The Octopus Literary Salon
MAR 20 LA, CA @ Zebulon^
MAR 21 Phoenix, AZ @ Lunchbox^
MAR 22 Tucson, AZ @ Fly Catcher^
MAR 23 San Diego, AZ @ Bar Pink^
MAR 24 San Francisco, CA @ Light Rail Studios^
MAR 25 Oakland, CA @ Ivy Room^
MAR 29 San Francisco, CA @ Rickshaw Stop w/ U.S. Girls
MAY 24 Frankfurt, Germany @ Zoom*
MAY 26 Antwerp, Belgium @ Trix*
MAY 27 Winterthur, Switzerland @ Salzhaus*
MAY 28 Vevey, Switzerland @ Rocking Chair*
MAY 29 Clermont Ferrand, France @ Coopertive de Mai*
MAY 30 Lille, France @ Aeronef*
MAY 31 La Rochelle, France @ La Sirene*
JUNE 4 Brighton, UK @ Concorde 2*
JUNE 5 Manchester, UK @ Gorilla*
JUNE 6 Dublin, Ireland @ Tivoli*
JUNE 8 Newcastle, UK @ Boiler Shop*
JUNE 9 London UK @ O2 Forum*
JUNE 14 Paris, France @ Bataclan*

*w/ Ty Segall and The Freedom Band
^ w/ Lars Finberg and The Bakersfield Moonlighters

 

Death and Vanilla: “Dioz Delerium” (Soundcloud)

Death-And-Vanilla-The-Tenant-MAGENTA

Death and Vanilla have committed a 2015 live performance of the unreleased film score The Tenant (1976) to disc (both magenta LP and CD) for Fire Records (pre-order here). It will be released on February 2, 2018. Check out album track “Dioz Delerium” via the Soundcloud embed below.