[…] “Mégalithes is a bracing, exhilarating work. It’s like a sonic Stonehenge, its music makes one feel small, in terms of both stature and longevity. … The NyNorsk Messingkvintett recording features two of the nine permutations, versions 3 and 7… . They are both superbly focused performances, version 7 benefitting from a slightly expanding performative dynamic range, such that the swells and greater, while they tiny sounds become miniscule. Comprising a contrabass tuba solo, it’s performed here by Berger Iver Færder who chooses to be rather more expansive than Grisey intended, but the result is quite wonderful… . The album also comes with … Anders Tveit‘s Untitled Echoes for Adjacent Rooms. Listening to Gérard Grisey, an electronic work derived from the sounds in Mégalithes. Positioned between the two performances of the Grisey, it’s a gloriously immersive addition to the soundworld, one that in no way detracts from its monumentality. If anything, it adds an air of gothic to the album, threatening to overwhelm but holding back, often reducing the brass sounds to fleeting, distant traces set in an abyssal trench, surrounded by hard to parse generalised stuff. … it’s a perfect complement to Mégalithes, making this album as a whole one of the most exciting and refreshing things i’ve heard this year.” [reviewed in June] […]
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[…] “Mégalithes is a bracing, exhilarating work. It’s like a sonic Stonehenge, its music makes one feel small, in terms of both stature and longevity. … The NyNorsk Messingkvintett recording features two of the nine permutations, versions 3 and 7… . They are both superbly focused performances, version 7 benefitting from a slightly expanding performative dynamic range, such that the swells and greater, while they tiny sounds become miniscule. Comprising a contrabass tuba solo, it’s performed here by Berger Iver Færder who chooses to be rather more expansive than Grisey intended, but the result is quite wonderful… . The album also comes with … Anders Tveit‘s Untitled Echoes for Adjacent Rooms. Listening to Gérard Grisey, an electronic work derived from the sounds in Mégalithes. Positioned between the two performances of the Grisey, it’s a gloriously immersive addition to the soundworld, one that in no way detracts from its monumentality. If anything, it adds an air of gothic to the album, threatening to overwhelm but holding back, often reducing the brass sounds to fleeting, distant traces set in an abyssal trench, surrounded by hard to parse generalised stuff. … it’s a perfect complement to Mégalithes, making this album as a whole one of the most exciting and refreshing things i’ve heard this year.” [reviewed in June] […]