Thursday, September 15, 2011

Girls visit Grimey's

Girls released their third LP this past Tuesday. Father, Son, and Holy Ghost (True Panther) is probably the strongest heavy rock record to date in 2011. F,S, & HG is filled with hazy neo-psych touches such as wafts of organ harmony and blurred rhythm guitars; material that would be equally at home in the early 1970s but is so sincerely delivered that it reads sincere rather than self-consciously retro. But it's Christopher Owens' understated delivery juxtaposed against roaring guitar solos that make the album an out-of-the-park homerun. Even songs as unpleasantly titled as  the seven minute long epic "Vomit"  and its companion rocker "Die" will win you over with their incredibly solid arrangements and unerring pacing.

To celebrate the album's release, Girls is on tour (see dates below). They are also making a high profile stop at Grimey's in Nashville, Tennessee on Friday, September 16 at 5 PM. Billed as a "Nationwide Instore," Girls' performance will be broadcast live to over 75 independent record stores nationwide. What a great way to support local record retailers. If you can't find a store that's participating in your area (or you just need to be a couch potato at the end of the work week) you can even check out the show from your computer, via a live stream on Facebook.


Sep 14 Atlanta, GA - Variety Playhouse

Sep 15 Asheville, NC - Orange Peel

Sep 16 Nashville, TN - Mercy Lounge

Sep 17 Carrboro, NC - Cat's Cradle

Sep 19 Washington, DC - 9:30 Club

Sep 20 Philadelphia, PA - Theatre of Living Arts

Sep 22 New York, NY - Bowery Ballroom

Sep 23 New York, NY - Bowery Ballroom

Sep 24 Boston, MA - Paramount Center

Sep 25 Montreal, QC - Corona Cabaret (POP Montreal Festival)

Sep 27 Toronto, ONT - Mod Club Theatre

Sep 29 Chicago, IL - Lincoln Hall

Sep 30 Madison, WI - Majestic Theatre

Oct 01 Minneapolis, MN - First Ave Nightclub

Oct 04 Vancouver, BC - Biltmore Cabaret

Oct 05 Seattle, WA - Neptune Theatre

Oct 06 Portland, OR - Wonder Ballroom

Oct 08 San Francisco, CA - Great American Music Hall

Oct 09 San Francisco, CA - Great American Music Hall

Sunday, September 11, 2011

Reich's WTC 9-11 (CD Review)

Steve Reich

WTC 9/11, Mallet Quartet, Dance Patterns

Nonesuch CD

Now that we’ve gotten the cover art discussion out of the way – and Nonesuch has acquiesced to the concerns of those who felt the artwork exploitative and inflammatory – let’s consider the music on Steve Reich’s latest recording.

An interest found throughout Steve Reich’s output concerns spoken word recordings, which he has employed in a number of pieces, from his early phase compositions to his most recent multimedia works. One of his watershed pieces from the 1980s, “Different Trains,” was written for the Kronos Quartet.  It juxtaposes spoken word recordings detailing train travel in the US in the 1940s (Reich was frequently traveling from coast to coast to visit his estranged parents) with spoken word accounts of the treatment of deported victims of the Holocaust in transit to concentration camps.

“WTC 9/11” (2011), also for Kronos, employs similarly emotionally charged taped material, this time referencing the 9/11 terrorist attacks on the Twin Towers. Scored for three quartets (using overdubs), field recordings, and electronics, the piece’s outer sections are propelled by the jarring sound of a telephone’s “dead wire” signal, and also incorporate alarmed shouts of air traffic controllers and emergency first-responders. These are woven into the gestural fabric of the quartet’s music, which outlines each utterance with a melodic motif. Also incorporated are snippets of 2009 interviews with lower Manhattan residents, recalling their reactions to the tragedy and reflecting on how it has changed them.

The central passage is particularly evocative: the voices of Jewish officiants chanting and singing psalms over the remains of victims in the months following 9/11 interweaves with angst-filled sustained passages of string writing. One wishes that this area of the piece had been allowed more time to develop and register. Instead, Reich cuts it short, returning to the pensive and dramatically charged material of the opening to close out the work in portentous fashion.

In comparing it to its predecessor Different Trains, I would say that this piece takes a similar approach to the treatment of material. That said, its affect is entirely different. At around fifteen minutes long, “WTC 9/11” is a terser utterance than one might imagine as a response to an event with such far-reaching consequences. But in so crafting it, Reich has recaptured some of the blunt force trauma to our nation’s psyche in the days following the initial event. He’s also avoided some of the overt sentimentality that other artworks commemorating 9/11 have been unwilling to forgo.  It is this quality that gives “WTC 9/11” a potent dramatic heft that, though jarring at times, proves taut and unflinchingly eloquent.

Rhythmic drive and insistent pulsation underpin most of Reich’s music. A signature aspect of his style is the incorporation of polyrhythms, which he learned from his studies of African drumming. Reich has created a number of pieces for percussion ensembles or featuring percussion as a strong component. But the Mallet Quartet (2009) is a nod towards the continuing evolution of pitched percussion instruments; it’s his first work to incorporate the largest member of the mallet family: the five-octave marimba. Two of these populate the piece with layers of ostinato repetitions and thrumming, resonant bass thwacks. Meanwhile, two vibraphones supply shimmering chords and sustained lines. The piece juxtaposes these forces of wood and metal, pulsation and sustain, demonstrating that these two instruments can provide abundant variety and color. Engaging in nimble interplay, So Percussion’s rendition of this piece is informed by their years-long association with Reich’s music; they’ve also release an excellent rendition of his earlier work Drumming. When I saw them perform Mallet Quartet live at Carnegie Hall, they did so from memory. This intimate and comprehensive knowledge of the piece is reflected in its authoritative recording.

Reich himself appears, as part of the Steve Reich and Musicians ensemble, in the recording of Dance Patterns (2002). It was originally written for Ictus to accompany Thierry de Mey’s film Counterphrases of Anne Terese de Keersmaeker’s Choreography. Here, mallet instruments are joined by pianos. While the limpid counterpoint and fulsome polyrhythms found in the Mallet Quartet prevails here, the addition of concert grands adds richness to the harmonies; some of the piano writing takes on a positively jazzy cast. Vibrant and accessible, it may not be a watershed work like his pieces for Kronos, but it’s the perfect way to introduce Reich to a new audience. Maybe a passel of foreign film buffs will catch the minimalist bug!


Free Web Counters
Free Counter