Each album has a distinct narrative, but the two releases are connected — two of Deyoe’s works appear on Walters’ album and Walters appears as both a member of the WasteLAnd ensemble and as a soloist on for Duane.
For this interview, Nick and Ashley reminisced about their collaboration over the past decade. Here, they present stories about their albums, music, and friendship.
First Impressions of Each Other
ND: I first met Ashley Walters in rehearsals for my second jury piece at UCSD (September-ish 2007), but I’d seen her perform with the Formalist Quartet a few times in the year before that. She was really astonishing in the quartet performances that I’d seen and I was really excited to get to work with her. She was detail-oriented, clear and direct in her feedback, and unbelievably positive. When we met, I was still really figuring myself out musically. I had a lot of insecurities that I was desperate to keep hidden and regularly felt like I wasn’t making music that was as interesting as that of my colleagues. Ashley was someone whose support and enthusiasm for my music made an incalculable difference in how I saw myself. As I became more confident in myself and my music, I began to feel much more free to develop my language (I’m not sure I’ve ever expressed these sentiments to Ashley). Daniel Tacke (who wrote a beautiful essay for my liner notes) and Stephanie Aston were two others who played pivotal roles for me. These were people who helped me question my work in a constructive way, helping me understand who I wanted to be musically.
AW: I met Nicholas Deyoe when we were grad students and neighbors in San Diego. I immediately noticed Nick’s presence and energy in rehearsals — he was professional yet sensitive; gregarious yet humble. I found tremendous energy and extreme contrasts in his music, which has biting, severe, and brutal sounds with moments of purity and sweetness. Whether I think of Nick in those early meetings or as a current collaborator and friend the word that always comes to mind to describe him is kind. He is a prominent force in the LA music scene not only because of his professional drive but because our community knows that he is invested in making connections with people and building strong friendships. I think there are many people who would consider themselves lucky to have met Nick.
ND: After this, Ashley and I started working together a lot, especially once we discovered that we were neighbors. Hearing Ashley’s perspectives on working with other composers, rehearsal preparation, and performance materials shaped my own approaches toward all things. I had the luxury of not only learning from her through our collaborations, but by drinking tea and talking about issues in other music, teaching, and life. She is thoughtful, direct, and never negative without warrant. If Ashley thought something was a problem, there was a good reason. She was the person to teach me that cello music is just as much about the person holding the instrument as the instrument itself (seems silly to make such an obvious statement) and that not all cellists have massive hands. She also demonstrated time and again that she would always strive to find a good solution for anything. Her dedication is remarkable and is something I witnessed immediately. In the 10 years we’ve known each other, I’ve only watched that dedication to her craft, her community, and her students deepen.
AW: Our first collaboration, For Stephanie (on our wedding day), was written for a momentous occasion — the marriage of Nick and Stephanie Aston. I am still touched to this day that our first collaboration was presented at such a personal event for two dear friends. During the process of creating this piece we spent as much time drinking tea and building our friendship through conversation as we did experimenting with sounds. This allowed us to connect first as friends and artists and then as collaborators not long after. [There is a work on each of our albums that was written for and performed at each other’s wedding. Six years after Ashley performed For Stephanie at my wedding, Stephanie performed Immer Wieder, which was composed for Ashley’s marriage to Luke Storm.—ND]
Then and Now
AW: In some ways it is impossible for me to imagine my career without the presence of Nick Deyoe — both as a colleague and as a composer. Releasing these two albums on the same day feels like the perfect celebration of a chapter in my life that has been enhanced by our work together.
As a performer, I try to be a portal between a composer’s voice and the audience’s experience. It has been a true honor that Nick has chosen me time and time again to be his ambassador of sound. Nick has challenged my technique and my own creativity; his music constantly inspires me to explore new colors and timbres on my instrument. I am a better cellist because of our work together. Nick’s musical language is unique but now feels completely familiar and comfortable to me. It’s like riding a bike — but his music is much more difficult than that!
ND: My relationship to pieces like another anxiety or for Stephanie are a lot different now than when I composed them four and eight years ago. At the time of creation, I was very focused on every detail, fussing over the sculpting of small moments. Now, as Ashley plays the pieces over and over again, across several years, I’m continually excited by the way she surprises me. At this point, I assume the time she has spent practicing the pieces surpasses the time I spent composing them. She has put incredible thought into every moment of the interpretation. She owns these pieces now, and it is an honor to watch her thought process unfold. In our early meetings refining her part for Lullaby 6, it felt like I was hearing her play an old piece. Ashley’s earliest interpretations were already nuanced and persuasive. It felt like she had already internalized the piece in a way that felt so familiar despite the music being completely new to us. [I truly think this work is a masterpiece, Nick. While it is an intensely difficult to play it was never anything but pure joy for me to uncover the nuances in your notation.—AW]
AW: Nick is often outgoing and effusive after concerts but the two performances that I remember and cherish the most are when he was speechless backstage — it was in those moments that I felt like we truly understood the magnitude of our collaboration. For me the performance of Nicks’s concerto, Lullaby 6 “for Duane,” is my most memorable — that night was not about virtuosity or even about collaboration — it was truly about friendship. Nick and I stepped on stage, he with a baton [“baton” is figurative, because I rarely use one.—ND] and myself with my cello, and together we celebrated the life of Nick’s father, Duane, who had passed away earlier that year. I was again honored to be asked to share a profound moment in Nick’s life through his music.
ND: Each new project we start together feels like it is embedded in everything we’ve already done while still moving forward. My collaborations with Ashley (similar to what I’ve done with Stephanie Aston and Matt Barbier) are what I use as a model when encouraging composition students to focus on building relationships with their peers. With these people, whom I’ve made so much music with over the last several years, a very different set of possibilities emerges. A new piece is a continuation of a long, thoughtful, and mutually respectful dialog rather than a fresh start. I am excited for every new musical relationship I begin, but maintaining the old ones is what I cherish about being a musician.
The Recording Process
AW: The collaboration between the composers and myself on this album extended past the composition/performance stage and into the recording process. Every composer (except Berio) was present when I recorded their piece. For me, recording solo repertoire in a large studio can feel lonely and isolating. However, in these sessions the energy of each composer was palpable through the glass. Wolfgang von Schweinitz brought his masterful ear and bolstered my own confidence with the fragile intonation in Plainsound-Litany. Wadada Leo Smith’s spirit in the booth was as contagious as it is on stage. The flexibility of his notation allows the performer to find her own voice and Smith provided constant support about the decisions I was making and the risks I was taking in my interpretation. Andrew McIntosh, a string player himself, is more frequently sitting in front of the mic than in the producer’s seat. (However, he is a talented producer in his own right, as you can hear on Nick’s album!). Knowing the great difficulty of his own piece, Andrew was my cheerleader throughout the process. Nick Deyoe was the first composer who joined me in the recording studio. Because this recording was documenting our first collaboration it felt like a special moment for both of us.
ND: All of the topics that Ashley and I keep discussing come back to collaboration. Making this album was a giant collaboration, involving 20+ people. My role composing the music, making the scores/parts, and editing the recordings feels, relatively, like a small part of everything that came together to make this album. This was the incredible work of 15 performers, 2 poets, a visual artist, a designer, and the miraculous producer/engineer pair of Andrew McIntosh and Nick Tipp. During our recording days last March, I spent time on both sides of the glass. I conducted Finally, the cylindrical voids tapping along and Lullaby 6 “for Duane,” and I sat next to Andrew in the control room for Immer Wieder and 1560. As a performer, I was trying to simultaneously think in-the-moment while considering what would make a good recording. Thankfully, Nick (Tipp) and Andrew (Mcintosh) were paying great attention to everything, taking notes, and also reading the room and managing the overall flow of the session. Recording challenging music is stressful for everyone, and having people who can help keep a productive flow while ensuring that everyone in the room is happy can’t be understated. On the other side of the glass, with the opportunity to listen more objectively (Immer Wieder, 1560), I was no less grateful to have Nick and Andrew’s sensitive ears reinforcing (and sometimes contradicting) what I was hearing. Their notes were crucial to me when I edited the album.
To learn more about the albums and the release party/concert that will take place on October 20th, visit here: http://deyoe-walters.brownpapertickets.com/
Pre-Order from Populist Records here:
Ashley Walters – Sweet Anxiety
Nicholas Deyoe – for Duane
Populist records just posted a new record from Andrew Tholl, Corey Fogel, and Devon Hoff, entitled CONDITIONAL TENSION. As populist points out on their site, the record is a great step forward for them, as it’s their first release of entirely improvised music. It’s also their 10th record (congrats!), and they just got a great review and profile by Will Robin on Bandcamp, which you can read at blog.bandcamp.com/2015/11/10/creating-a-wide-platform
The record is available for pre-order now, and comes out on November 20. The track above is my favorite of the two extended improvisations, but the whole thing is just fantastic.
With a name like “FACE|RESECTION,” you know it’s going to mess with your head. The album title is a merging of the two track names, Facesplitter and Bowel Resection, performed by Matt Barbier and released on populist records. Both use extended techniques transform the trombone into much more than a mere instrument.
The first track, written by composer and guitarist Nicholas Deyoe for solo trombone, imitates machine noises. A lawnmower here, a band saw there, and an electric drill and sink disposal in between evoke a soundscape of quotidian noise as music. Rarely is there a sound produced by Nicholas which does not have some parallel which can be heard from your own kitchen. This catalogue of techniques moves the listener to appreciate these noises more as music than something to be ignored. In short, I would call this music by a human about inhuman subjects for humans.
Clint McCallum’s piece is another technically startling trombone solo called “bowel resection.” It emphasizes circular breathing and uses the sniffs to remind the listener of the human behind the mechanism, of the organic being in machine. Another set of extraordinary trombone techniques, this piece brings a new emotion with each listen, one of which is, as you may guess from the name, disgust. But, like spectacular gore in a horror film, you won’t want to turn away. To compare this track to gore seems both blasphemous and fitting. You’ll have to listen for yourself.
This Sunday, ArtShare LA will be hosting a party celebrating Scott Worthington’s recent release of Prism on Populist Records (out August 14, available for pre-order here), a collection of works spanning 2010-present, all in his singular voice. The program will include pieces from the recording as well as other pieces for bass and electronics. We asked him a few questions about the recording and upcoming party:
How did you go about starting work on this set of recordings? You seem to have developed a unique voice with bass playing and electronics. What do you feel is the relationship here? Are the electronics always more fixed and your bass playing more improvisatory? Do they inform each other? What comes first, and how do you craft the pieces?
Back in 2010 I tried to record At Dusk and Prism. That attempt didn’t turn out very well, so I guess you could say that I started to work on it all the way back then. The recordings on the album are from 2014 and 2015. I didn’t craft the pieces in order to produce the album, but I think I got lucky and they sound nice together.
I’m not sure if there’s a relationship. I just try to make electronic parts that don’t sound like my own *very* reductive stereotype of wiz/band/swoosh electronic music. I like some of that music but I’m just not good at making it and/or am too lazy to try.
Neither of the electronic parts on this disc are fixed. In At Dusk, they end up sounding like a very pitchy reverb chamber. It has an entirely notated bass part. I’ve adjusted some of the rhythms and dynamics as I’ve played it more, but I wouldn’t consider is improvisatory. As for the chicken/egg, I had the idea to get the computer to mimic the sustain pedal on the piano, wrote the bass part with that in mind, and experimented writing some different computer programs until I thought it sounded right.
In Reflections I cue the drones in a way that sort of fakes live processing. It has some melodic fragments and ideas that remain the same from performance to performance, but there is no score. This piece started as a bass ensemble work for five basses and I made a version for solo bass and drones afterwards.
Your work seems to prioritize some traditional musical ideas – there are memorable themes and motifs, as well as more atmospheric materials. Are you concerned with making memorable gestures that can be developed? Or do you have a different way of thinking about thematic material?
I guess I’m a “motive guy” or something like that. Sometimes I like to tell people my music is mash up of Brian Eno and Morton Feldman. I like things that can be remembered but aren’t necessarily played the same every time. I think most of the development in my pieces comes from layering different motives on top of each other, but not necessarily developing the motives themselves. Reflections works exactly like this. I have a bank melodic ideas and I put them together during the performance. I used to just write this kind of thing out in score form, but more recently I’ve been eschewing scores and trying to create environments where these kinds of ideas can live and get a bit of a life of their own from performance to performance.
There are two versions of a quintet, with a note, “After Feldman.” While somewhat static, there is still more trajectory here than what I associate with Feldman. Did you have a specific piece in mind that was influential? I’m curious about the reason for two versions – can you describe the compositional method here?
A specific piece, yes! Piece for Four Pianos. Here’s a youtube recording:
I think I have it right that the pianos each have the same part and progress at their own pace. In my piece, there are five separate parts, but I…borrowed…the “at your own pace” bit. Since it’s not exactly the same every time I thought I’d put two performances on the album. I also think they act as nice palette cleansers between the longer pieces on the album.
I really enjoyed Prism. I can see how you’re working with some potent, dramatic materials that are then refracted and explored, like light through a prism. Your handling of the form here seems really intuitive. Did you have a specific structure in mind, or did the materials themselves suggest the form? Is there anything else you’d like listeners to know about the piece?
Glad you enjoyed it 🙂 I think I did have a little structure mapped out (it’s from 2010, so my memory of writing it is a little fuzzy). There are five parts and I think those parts only had to do with the pitches/chords in the sections. I think that was the extent of the formal plan. So, maybe that means it was intuitive? I don’t think I set out with a plan for how long the sections were. It was towards the end of when I was really concerned with pitch sets and things like that and I was (clearly) moving towards using a lot of repetition and being sparse and droney in general.
Your fifth track is in memory of Stefano Scodanibbio. Can you talk a little bit about what his influence is?
He was one of the most incredible bassists (and perhaps musicians) to walk the planet. I never got to meet him or see him perform, but the kinds of things he was capable of on the bass are unparalleled. I wrote the piece shortly after his untimely death from ALS. It doesn’t use any of the techniques or pyrotechnics he was known for and capable of, but I tried to make a contemplative piece in his memory.
Are you excited about the release party concert? Do the other pieces on the program relate to this recording, or are they just pieces you enjoy performing for other reasons?
Yes, I’m excited! I’m also heading off on a CD release tour playing at the Center for New Music in San Francisco on the 14th, the Wayward Music Series in Seattle on the 19th (with Nat Evans), and at the Wandering Goat in Eugene on the 20th (with a lot of other artists and bands). Lots of miles on the car, but I’m looking forward to meeting people and playing some music for them.
I’ll be playing two new works that Nat Evans and Brenna Noonan wrote for me for these concerts. They don’t relate specifically to the album, but I wanted to make a nice concert and not just play the record for people. I met Nat and Brenna through a project that Nat did called The Tortoise (https://natevans.bandcamp.com/album/the-tortoise). The concert will close with Julia Wolfe’s piece Stronghold which is just an awesome piece–it’s kind of a barn burner.
And finally, if you could sit down with your listeners and tell them anything, what would it be?
Hope you enjoy it 🙂
We hope you enjoy it too. For more information, visit:
Scott Worthington – Prism CD Release Party
8.9.15, 8pm, $10
801 E. 4th Place, Los Angeles, CA 90013
See you there!
Editor’s note: Aron Kallay will be performing on Piano Spheres’ Satellite Series at REDCAT this Tuesday, December 16, at 8:30. GO!
Inoo/Kallay Duo – Five Conversations About Two Things
Aron Kallay, Piano Yuri Inoo, Percussion
From populist records comes an inaugural CD by the Los Angeles-based Inoo/Kallay Duo, that includes seven varied pieces from five different composers. Together with versatile percussionist Yuri Inoo, Aron Kallay explores an amazing variety of textures and timbres through premiere recordings of contemporary Southern California composers.
The first track is Like Still Water by Thomas Osborne and this begins with a series of solitary piano notes followed by periods of silence that allow the overtones to hang incandescently in the air. The vibraphone joins in with a series of solid, syncopated chords that at first counterbalances the airy lightness, but this evolves into series of delicate tones that mix and hover overhead. The ensemble of piano and vibraphone here is nicely done, producing just the right conditions for a ghostly interplay. Like Still Water is precisely descriptive of the liquid feel in this piece – it is like hearing the ripples you see when a stone drops into a quiet pond.
The Question Mark’s Black Ink by Bill Alves follows and this has an entirely different feel – cool, remote and with a soft whirring sound like some alien machinery running in the basement. The sound steadily increases, as if we are approaching the source, and the crescendo builds to a single strong piano chord. A series of syncopated rhythms in the vibraphone and piano follow and these mix to form a lovely melody while a warm, sustained pedal tone rises from underneath. This develops a nice groove that is soon dominated by a powerful piano line – the texture here turns bolder and more percussive. Quiet introspection follows, with solitary piano notes heard over a warm wash. In it’s quieter moments The Question Mark’s Black Ink is beautiful music and the playing has just the right sensitivity and touch.
Cantilena III by Karl Kohn is next and this begins with a low sounding marimba trill that immediately creates an exotic feel. A strong piano entrance follows, providing some nice riffs that seem to bounce off the marimba in a mix of the sophisticated and the relaxed. The interplay produces some interesting textures, combining the soft mallets and the slightly harder edge of the piano. Cantilena III suggests a visit by an American to a rural Mexican cantina – there seems to be a gentle clash of cultures occurring and by the end of the piece the marimba and piano, interestingly, seem to be on completely different wavelengths. Cantilena III is an intriguing exploration of contrasting sensibilities and the playing is carefully balanced.
Tracks 4 through 6 comprise the three movements of Elliptic by Caroline Louise Miller. The first of these, Distorted Sundown – Golden Moonrise, begins with a low, almost inaudible hum that crescendos into a series of sharp piano notes. A soft metallic clang is heard along with the sounds of gentle waves – like standing on a distant lake shore at sunset. The piano soon predominates with a series of slow arpeggios that add to the introspective feel. The piano fades softly away, followed by a short silence, and then re-emerges in a stronger, brighter line as the moon rises. There is just enough that is strange and unnatural here to evoke a certain alien remoteness, as if we are experiencing a natural phenomena in an unusual way.
The middle movement, Earthrise – Anarchy, begins with a more pensive feel – with tentative piano flourishes and light, bell-like percussion – we seem to be hovering in space. A sudden piano crash and a series of bass drum rolls add a burst of drama and energy that suggests a chaotic process unleashed. A rapid snare drum solo gives the sense of standing in the center of a battle. This is followed by an ominous rumbling by the piano in the lower registers that explodes upward into a series of crashing chords and thunderous waves of percussion. The movement concludes with a massive chord that recedes like a distant explosion.
The final movement, Exodus, is just a little over two minutes and has an ominous start, continuing the decrescendo from the the middle movement as if rolling outward in the distance. Soft piano notes follow, like watching a ship slowly sailing off towards a horizon. Elliptic is dealing with big, planetary issues and embraces a wide range of dynamics and textures. The playing here is well-matched to the moods as the story unfolds.
The last track is Wagon Wheeling by Tom Flaherty and this starts off softly with a syncopated repeating melody in the piano followed by a dramatic buildup in the percussion. The intensity increases with a good sense of balance in the percussion – always building but always under control. A smoother section follows with the piano and marimba weaving in and around each other with remarkable precision. This piece is quiet at times and at other time boisterous, but with a sound that is always carefully contained and shaped. The percussion especially stands out – so many notes and passages but always finding the right feel. The ending is a crescendo that comes to a sudden halt. Wagon Wheeling is a complex piece with a lot of moving parts produced by just two players.
Five Conversations About Two Things brings together a wide range of composers and compositions performed by two excellent musicians who are ideally suited for each other.
Aron Kallay will perform in the Piano Spheres Satellite Concert Series at RedCat on December 16, 2014.
Five Conversations About Two Things is available from populist records.
Man, populist records is putting out so much great music right now! We just got a review of Andrew McIntosh’s Hyenas in the Temples of pleasure up, and yesterday afternoon Aron Kallay reminded me that his record with percussionist Yuri Inoo is coming out already. Today.
Here’s the first track.
We’ll get a review of the record and an interview with the band up soon. Until then, my wish for 11:11 on 11/11 is that you download it today.
Hyenas in the Temples of Pleasure, the new CD by Andrew McIntosh recently released on the populist records label, consists of three distinct sections of four pieces each. Each group is connected not only by the instrumentation and scoring but also in projecting related sets of feelings. The first and last groups are comprised of the Symmetry Etudes and the middle tracks on the CD are the four movements of Hyenas in the Temples of Pleasure.
The first four tracks are Symmetry Etudes V, II, III and IV, composed from 2009 to 2012. These are written for two clarinets – in this case Brian Walsh and James Sullivan – and violin, played by Andrew McIntosh. The first of these, Etude V, starts with a syncopated violin line that is soon joined by smooth, sustained clarinet tones above and below. A sense of purposeful activity in the violin is immersed in tension as the clarinet pitches become stronger and more acute – almost electronic in purity of pitch. The violin struggles and is almost overwhelmed by the loud clarinet tones. There is a sense of virtuous purpose in the violin that contrasts with the emotionless and machine-like clarinet parts. As the piece concludes there is the sense that the two opposing viewpoints remain unresolved.
Etude II begins with a simple but elegant clarinet line that flows out, joined by the second in a higher register. This creates a wonderfully weaving and sinuous feel while the violin adds a thinner sound that provides a complimentary bit of definition in the texture. There is a sense of calmness and nature at work, like walking by a lake early in the morning. A very beautiful piece. Etude III opens with the clarinets warbling together, accompanied by higher, sustained tones in the violin. There is a sense of mystery and anticipation – along with a slightly alien feel. As the piece progresses a feeling of remoteness develops that becomes increasingly agitated, although some nice interweaving harmonies appear that slowly die away at the finish.
Etude IV is a series of slow, ascending scales – there are some lovely harmonies that develop as the three pitches rise upward, like watching warm vapors rising and mixing, forming various combinations. Some occasional syncopation in the rhythm keeps the sound interesting and engaging. There is a wide open – almost Coplandesque – feel to this, like looking out at a far horizon. I first heard this piece performed at Disney Hall in 2013 and much of the finer detail was lost in that cavernous space; this recording is a much more satisfying experience. The clarinets dominate most of these Etudes and the playing by Brian Walsh and James Sullivan is right on target, fitting the various moods exactly.
Hyenas in the Temples of Pleasure (2012 – 2013) is a four movement work that occupies the four center tracks of the CD and is performed by Laura Barger and Ning Yu on pianos with Ian Antonio and Russell Greenberg on percussion. The first movement starts off with two pianos playing scales in different directions and this evolves into separate lines with differently syncopated rhythms. Now marimbas are added in what becomes an almost random pattern of notes. The pace slows and the feeling is like hearing rain drops. There is an exotic, primal feel by midway through – as if in a rainforest or jungle. A growing sense of tension arises, as if far into deep wilderness, perhaps lost. Now a brief repeat of the first piano lines as the movement ends and it is as if we have traveled deep into the unknown to arrive at a strange place.
Movement II starts off with rapid runs of sixteenth note scales by two pianos – now slowing to single notes spaced a few beats apart with the percussion. A single bell sounds at four second intervals accompanied by a low bottle blow sound. A series of lovely chimes ring out, as if in a Buddhist temple, with piano chords sounding at intervals. There is a serene, meditative feel to this, disrupted by the occasional forceful piano chords. A strong sense of contrast here – restful and menacing at the same time.
A low booming drum roll opens Movement III creating a sense of anticipation. A cascade of piano notes develop into mysterious melody that adds a hint of tension. More ringing percussion now, the same bell chimes from Movement II. There is the feeling of standing on a high, windblown hilltop in Tibet. Lovely, yet vaguely ominous in its mystery.
The final movement opens with a strong piano chord that gives a definite sense of menace. High pitched, sharp tones appear – like shards of glass- and this adds to the anxious feel. Now a bell sounds, restoring some calmness. More chimes arrive – less tension but still an uncertain atmosphere. Stronger chimes now, with lighter, metallic bells above. The piano takes up the theme ending the piece with a feel of anxiety mixed with calmness. There is a definite sense of journey and mystery in Hyenas in the Temples of Pleasure that unfolds in a satisfactory arc across the four movements. Tension and restful calm seem to coexist uneasily together and the picture that forms is one of a distant, sacred space suddenly defiled. The playing is remarkable for its range and precision. The percussion was especially artful in both the scoring and the performance.
The second group of Symmetry Etudes begins with Etude I and this starts out with a single clarinet producing a sort of wavy sound. The violin takes this up, and now the other clarinet. The sounds oscillate in and out, eventually escalating to loud and piercing tones. Intense and high in pitch, this becomes almost like a whistling sound by the end. Just two minutes long, Etude I starts low and ends very high, one continuous crescendo of pitch and volume. Etude VI starts out softly but with high, sustained tones in all three instruments. There is a sense of relentlessness – like looking at a bright sunrise on a clear day. As this piece continues the sounds become more strident with zero beating occurring between the pitches. The playing is very precise here – as is needed to attain these exacting sonic effects.
Etude VII begins with a single clarinet playing a simple scale. The second clarinet joins in, but is offset by just a fraction of a beat. This produces a playful syncopation that is quite engaging. The violin now repeats the scale and a clarinet becomes the offset part. Only 1:40 in duration, the success of this etude springs from a simple idea that produces a complex and interesting result. Etude VII begins with a low, sustained clarinet tone that is almost electronic in its purity and constancy. There are slight wobbles in pitch, just as if from an electronic oscillator. A second clarinet joins at almost the exact same pitch to produce some zero beating. The violin joins on what sounds like a harmonic and the the three tones move about to various fixed pitches in a close approximation to the sounds produced by a series of oscillators. The purity and stability of pitch is impressive and this perfectly evokes the cool remote feel of electronics. This second group of etudes has a more synthetic and remote feel where the first group was more organic and pastoral. Overall the Symmetry Etudes are an impressive collection, evoking a wide range of feelings and gestures from just three players.
This collection of pieces in Hyenas in the Temples of Pleasure combine impressive playing and excellent scoring with artful storytelling. The mixing and mastering by Nick Tipp, along with Ian Antonio and Ressell Greenberg are state of the art and have accurately captured the widely diverse dynamics and timbres.
Hyenas in the Temples of Pleasure is available now from populist records.
I’ve been working on getting a better event calendar together to this site for quite a while, and am extremely pleased to say that the new one is live. If you’re on a computer, look to the right. If you’re on a phone, scroll down. Or simply click Calendar on the site’s menu to check it out.
If you’re reading this post today, you’ll see an event called Gnarwhallion listed. That’s Gnarwhallaby’s concert celebration of Andrew McIntosh’s new record, Hyenas In The Temples of Pleasure. It came out today, and we’ll have a feature on it out soon. You can beat us to it by going and grabbing your own copy at tonight’s show.
I’m still working out the most efficient way to take calendar submissions. Stay tuned for that. In the meantime, if you post a Facebook event to our forum page, we’ll make sure it gets listed.
wild Up are accompanying Ezralow Dance at the Ford Theatre tonight, so I thought it’d be appropriate to post a track. Plus I heard this as background music on KRCW yesterday and thought “whoa, Chris is on KCRW!” (To be fair, it was an ad for the show.)
Stand still like the hummingbird opens wild Up’s record Feather & Stone, which was released earlier this year on Populist Records. It’s jazzy in a 40’s mellow bop kind of way, but has no shortage of insane left-turns that only an ensemble as flexible as these guys can pull off.
Though based in San Diego, bassist and composer Scott Worthington is no stranger to the LA scene. UPDATE: SCOTT HAS MOVED TO PASADENA.