Canada

A spine-tingling fusion: Alone Architect

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A release i’ve been anticipating for a while came out recently: the self-titled debut EP from Alone Architect. Much of the best electronica-fuelled songwriting in recent times has emanated from Canada, and Alone Architect is no exception, being the project of Montreal musician Jeff Feldman. Feldman posted a couple of teaser tracks online some weeks back, one of which featured the unique vocalisations of Elsieanne Caplette, chanteuse of the outstanding duo Elsiane. The song in question, “The Incision”, proved absolutely captivating, and promised big things for Feldman’s forthcoming EP; it does not disappoint.

The EP comprises six tracks whose brand of electronica is dark bordering on nocturnal. But it’s not yet another generic exercise in pseudo-post-apocalyptic knob-twiddling; on the contrary, rhythmic drive and overt lyricism pervade Feldman’s darkness, adorning it with splashes of colour and lightening its heavy undertones. Opening track ‘Moth to Flame’ exhibits both, although with a sense of distance. Feldman spends some time establishing layers of accompaniment (drawing heavily on the spectre of late ’70s Jean-Michel Jarre), and when his voice finally enters, the lyrics are bent out of shape almost to the point of obscurity. However, this is more than just a song—the absence of a chorus in its structure reinforces the point—and its climactic moments are carried by music alone, the words falling silent. It’s followed by the goth-inflected “Not Alone”, sung by Angela Boismenu whose voice seems to combine the best aspects of Cher and Amy Lee. Laid back in tempo, it nonetheless packs no little punch in the choruses, a punch that Feldman ramps up as the song progresses. Lyrically, despite the convolution of its poetry there’s real passion here, made all the more potent by a switch to triplet rhythms in the middle 8 and the abrupt fragility at the start of the coda. Read more

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Proms 2012: Nicole Lizée – The Golden Age of the Radiophonic Workshop (Fibre-Optic Flowers) (World Première)

Posted on by 5:4 in Festivals, Premières | 1 Comment

Yesterday’s late evening Prom with the Kronos Quartet technically contained two premières, although one of them hardly qualified. Jacob Garchik’s string quartet arrangement of ‘La sidounak sayyada’, by the great Syrian pop enigma Omar Souleyman, systematically undermined the fundamentals that make Souleyman’s music so weirdly irresistible. Kronos executed the music with their usual dollop-and-a-half of energy, but going through the motions simply wasn’t enough; without Souleyman himself in the spotlight, it just sounded hollow and forced. i’ve included the music for the sake of completeness—but do yourself a favour and listen to the original. Read more

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Proms 2010: looking forward/back; Claude Vivier – Orion (UK Première)

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The Proms season is upon us once again, bringing with it the lively hope of new commissions and world premières. However, a cursory glance at the concert season makes for rather damp reading, the commissions going to an unadventurous gaggle including Mark-Anthony Turnage, David Matthews, Graham Fitkin, Jonathan Dove and Huw Watkins. That being said, new works from Robin Holloway, Tansy Davies and Tarik O’Regan should make for more interesting listening, along with UK premières from Gunther Schuller, Simon Holt, James Dillon and Bent Sørensen. If time allows, each new work and other concerts of note will be covered here on 5:4, together with a recording of the performance. First up is Gunther Schuller next Tuesday.

Meanwhile, here’s one of the highlights from last year’s Proms season, and a work by a favourite composer of mine, Claude Vivier. It’s the UK première of his Orion, a work that emerged following the composer’s extensive trip to the far east. With a title like Orion, it’s rather too easy to reach for an adjective like ‘cosmic’, but that word absolutely applies; its 13-minute duration has a broadness of scope that is remarkable and highly evocative. While other composers are sporadically brought to mind (Takemitsu, Messiaen, even a hint of Varése here and there), Vivier’s sound-world—as ever—is entirely his own, and it’s a ravishing, exquisite sound-world indeed, which makes it all the more surprising that his work persists in being so unknown. Admittedly, there are layers of obtusity in Vivier’s structures and textures that, for all their superficial beauty, can cause one to feel a little uncertain, even lost. But i for one am content to be taken into uncharted waters by one such as Vivier; it’s music worth a bit of trust and effort. Read more

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Paradise pop: Dragonette – Fixin To Thrill

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Lately it’s music from Canada that’s been interesting me; and most recently, taking their place alongside such disparate luminaries as Aaron Funk, Aidan Baker, Elsiane and Paul Dolden (about whom, in due course, much, much more), have been Dragonette, whose second album Fixin To Thrill came out earlier this month. Dragonette have been steadily forging their reputation over the last four years, beginning with one of the best debuts ever, the elusive but immaculate Dragonette EP, after which a clutch of singles and first album Galore have emerged, each revealing a group remarkably assertive and undeniably talented. To describe their music as ‘synthpop’ is to do them a disservice; eighties allusions come thick and fast, but their songs are firmly rooted in the noughties, and to this end they stand out as a truly contemporary act, rather more successful and engaging than, say, New Young Pony Club. Furthermore, there’s also a distinct rock sheen to their music, which in the best way prevents it from being too ‘clean’ a synth sound, akin more to the gutsy rocktronica of The Faint. Out in the limelight is Martina Sorbara, a singer whose voice is capable of a surprising range of characterisations and tone colours. Read more

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Playing around in digital detritus: Venetian Snares – Filth

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Is it me or is Aaron Funk’s output beginning to slow? Nine months on from last year’s Detrimentalist, Funk is back with a new Venetian Snares album, Filth, released in late April.

Opening track “Deep Dicking” is a paradigm for the whole album, hyperactively squelching around in digital detritus; sounds, flurries, gestures, beats and burps passing by at breakneck speed. Underpinned by a relentless, almost happy-hardcore beat, it has a potent manic quality, suggesting Venetian Snares at its best, breaking apart familiar beat elements, scrutinising them, reassembling them, creating disturbing collages from the fragments. It ends as it began, playing around in the dirt of the album’s title, after which “Crashing The Yogurt Truck” continues in such similar fashion that it could almost be a ‘part 2’. The Speak and Spell is brought out of retirement (last heard 5 years ago on Huge Chrome Cylinder Box Unfolding) and folded into the mix, along with increasingly retro twangs redolent of the TB-303 and TR-606. This is taken further in “Labia”, ploughing a distinct faux-analogue furrow, at times bringing to mind Aphex’s Analord series, before abruptly cutting off. There’s only time for a snatched breath before being plunged back in, with “Mongoloid Alien”, where the cyclic intensity assumes fever pitch, obsessively repeating the title ad nauseam. “Chainsaw Fellatio” (no, i don’t know either) is the first to reduce the frenetic pace, although the slower, swaggering tempo has the effect of making all the surrounding ephemera seem, if anything, faster at times than before. Read more

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Conflicted and inconsistent: the mentality and detriment of Venetian Snares

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Through the last few years, my opinion of Venetian Snares has been in the descendant. But from the outset, let’s be fair; while Aaron Funk has, on occasion, produced music that rarely rises beyond mere drivel—Songs About My Cats, Chocolate Wheelchair Album—he has also achieved some mind-blowingly brilliant creations: Huge Chrome Cylinder Box Unfolding and the wonderful Rossz Csillag Alatt Született. Venetian Snares’ output often gives the impression of listening to someone with Tourette Syndrome plugged into a cluster of samplers and effects boxes. At times, a sense of control is lost, resulting in a miasmic, dull mess (Making Orange Things)—but when the control is maintained, it can focus into a beam of shockingly vivid, effluvial rage (Winnipeg Is A Frozen Shithole). Funk, it would seem, is not always sure where the line is drawn between being extreme and being excessive. i think it has a lot to do with the fact that, since 2000, he has released no fewer than seventeen Venetian Snares albums, and around the same number of singles/EPs. Astonishingly prolific but, of course, quality and quantity rarely coincide. In this sense, i’ve come to regard Aaron Funk as something of a latter-day Darius Milhaud: a vast quantity of music, much (perhaps the majority) of which is formulaic and tiresome, but nonetheless containing a few gems that reveal the hand of an absolute master. Into this highly ambivalent context comes Detrimentalist, the first Venetian Snares album of 2008. Read more

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Elsiane: strange, radiant pain

Posted on by 5:4 in Miscellaneous | 8 Comments

For years, i’ve had a penchant for female singers with unconventional voices. This is, i suspect, as much to do with the fact that such singers usually surround their voice with equally unconventional sounds, as with the actual voices themselves. The list is considerable: Clodagh Simonds (Fovea Hex), Liz Fraser (Cocteau Twins/This Mortal Coil), Toni Halliday (Curve), Sierra and Bianca Casady (CocoRosie), Imogen Heap, Joanna Newsom, Anne Marie Almedal (AM and the UV), Claudia Brücken (Onetwo/Propaganda), Beth Gibbons (Portishead), Emiliana Torrini, Björk, Tori Amos, Ute Wassermann, and i’d even include t.A.T.u.’s Yulia Volkova, although she’s rather more mainstream. Perhaps the most significant aspect of these singers’ appeal, though, is in their ability—fuelled by their unconventionality—to bring a new kind of expressive power to songs, a power that is often extremely direct and moving.

A notable omission from the above list—and one of the most rapturous voices i’ve ever heard—is Elsieanne Caplette, one half of the Canadian duo, Elsiane (the name is an amalgam of her and drummer Stephane Sotto’s first names). Apart from anything else, they’re a curiously stylish entity, Caplette’s classical training fusing and fizzling with Sotto’s background in art history. Sonically, they are, literally, breathtaking; it becomes apparent listening to them how often singers don’t really sing, preferring either to murmur within a narrow cluster of notes or meander aimlessly in all directions. Elsiane, on the other hand, are the epitome of cantabile, their melodies singing out the journey that their poetic, intimate lyrics require, at times almost too low for Caplette’s voice, other times squealing high notes, but whether each comes from ecstasy or angst remains ambiguous. Read more

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