ALBUM REVIEW: First by yMusic & Son Lux

Posted on February 20, 2017 by maestrobeats

First, a collaboration between the chamber ensemble yMusic and Ryan Lott, the founder of Son Lux, is a unified expression of a narrow set of aesthetics. That is not to say that First lacks depth; on the contrary, First explores its chosen aesthetics comprehensively. The result is a release that listens like a concept album. Therefore, it is no surprise to see that yMusic’s stated goal for this project was to “build a record of chamber music which emulates the flow and structure of a rock album.” At that, they have succeeded.

Like other releases that are designed to work as wholes, First is best absorbed in one sitting. The expressive nuances and subtle aesthetic variations that fade in and out throughout the album are much more apparent when the music is taken as a whole. Of course, most of the tracks are quite effective on their own, too.

The compositional predilections of Ryan Lott are obvious in First. In particular, the use of “repetitive structures,” background “pads” of sound, and the emergence of a noticeably more expressive lead line are frequent in First. Also present is the technique of juxtaposing highly active and fast accompaniment figures with bass lines and harmonic pads moving at a much slower speed on top of the same rhythmic framework. The difference here is that the overriding use of acoustic instruments by yMusic creates a different flavor of intimacy than that seen in the music of Son Lux. The two are certainly related, but also deliciously different.

There are a few moments when compositional elements not seen in Son Lux’s music make appearances on First. The most notable of these is the inclusion of contrapuntal writing in Sunset Boulevard. Perhaps the slightly more “classical” flavor of yMusic’s setup inspired Lott to lean more on this technique largely associated with music of the past. Whatever the genesis, it works.

Ryan Lott’s love of acoustic instruments is obvious in the music of Son Lux. Furthermore, it seems that he has found a perfect partner with whom to explore that interest more deeply in yMusic. The players of yMusic execute Lott’s with remarkable facility and fearlessness. The woodwind technique on First deserves special praise, as does the trumpet playing. Many of the licks on this album are beyond tricky, but yMusic makes them seem like no big deal. This attention to excellence and detail is absolutely necessary in order for Lott’s intricate musical designs to sparkle.

One particularly pleasing element of this project is how the first and last tracks (Eleven and Paris, respectively) encapsulate the release as a whole. While the last piece includes some of the familiar characteristics of the first, it is tempered with elements of the intervening tracks. This synthesis of ideas yields a satisfying conclusion that recalls the boldness of the opening while remaining informed by the complexity of the entire album.

Moments that are both simple and beautiful are rare in First, and most of them dissolve or morph into moments of increased emotional complexity. While these simple moments are cathartic, the real beauty here is in the complexity and tension that leads from one exhalation to the next.

ALBUM REVIEW: Dreamfall by NOW Ensemble

Posted on May 26, 2015 by maestrobeats

by Maggie Molloy

If you’re looking for the latest in contemporary classical, it doesn’t get any more current than NOW Ensemble. The dynamic seven-member group is committed to pushing the boundaries of the classical chamber music tradition, often crossing into new genres and artistic media.

True to their name, NOW ensemble infuses traditional Western art music with contemporary music styles such as indie rock, jazz, pop, and minimalism—bringing classical music to new audiences in the here and now.

The foundation for their one-of-a-kind sound is their eclectic instrumentation: electric guitar, flute, clarinet, double bass, and piano. Currently in their 10^th year as a group, the ensemble is comprised of artistic director and guitarist Mark Dancigers, flutist Alexandra Sopp, clarinetist Sara Budde, double bassist Logan Coale, pianist Michael Mizrahi, and composers Patrick Burke and Judd Greenstein.

So NOW, what’s the latest?

The ensemble just released their fourth full-length album, an eclectic new music mash-up titled “Dreamfall.” The expansive new release features works by seven remarkable composers of contemporary music: Scott Smallwood, Mark Dancigers, John Supko, Nathan Williamson, Sarah Kirkland Snider, Andrea Mazzariello, and Judd Greenstein.

“It is a state of immense freedom,” Dancigers said of the album’s title. “The sounds on this record reflect this freedom, this sense of something a little out of our hands, and, beyond all else, the practice of making music that is NOW Ensemble.”

Scott Smallwood’s “Still in Here” is the first piece on the album, and it begins with low, grumbling piano trill—in fact, the graphic score denotes a “slow, drunken piano trill” throughout. The piece is atmospheric and dark, even apocalyptic at times. It swells in dynamics, periodically highlighting the unique texture of each instrument above a blur of musical vibrations. Listen for the soft crinkling of a foil stove burner liner amidst the ambiance. (According to Smallwood, “the handi-foil type 302 liner is a good candidate” if you’re looking to perform this one at home.)

The title track, written by Dancigers, showcases a more expressive side of the ensemble. The three-movement work explores an eclectic collection of melodic fragments, similar to a dreamland—one moment here and the next somewhere completely different. “Dreamfall” showcases the ensemble’s full range of timbral and textural possibilities, capturing the ever-shifting moods and melodies that we experience once we finally let go and start dreaming.

Speaking of dreams, John Supko’s “Divine the Rest” is nothing short of a mesmerizing daze. It immerses the listener in an ambient electroacoustic soundscape, with calm narration whispering over sparse instrumentation. Each and every note gently rings over the surrounding static to create a slowly shifting musical landscape.

The listener is abruptly awoken from this trancelike state with an audacious piano slide introducing the next piece on the album, Nathan Williamson’s vivacious “Trans-Atlantic Flight of Fancy.” Harmonies sprawl across the keyboard with rhythmic verve, restlessly pushing forward beneath bold and brash woodwind melodies.

The ensemble again switches gears for Sarah Kirkland Snider’s “Pale as Centuries,” a musical collage which combines diverse, distinctive, and sometimes even mismatched melodic fragments into a single cohesive image.

Andrea Mazzariello’s “Trust Fall” has a somewhat more linear development, growing gradually in drama and expressivity, from its sparse and simple introduction to its climactic close. However, one thing remains a key focus throughout: lush, dolce melodies.

The album ends with Judd Greenstein’s “City Boy,” a colorful musical depiction of a free and fearless young boy, his eyes twinkling as he playfully explores the world around him. The piece moves rapidly from one melodic idea to the next, switching from a jazzy guitar groove to a circling piano motive to a flowing clarinet melody within a matter of minutes.

The piece serves as a reminder of the major themes present throughout NOW Ensemble’s musical ventures: experimentation, innovation, and above all, a genuine enthusiasm for pursing curiosity. NOW that’s what I call contemporary classical!

(NOW Ensemble’s November 2014 visit to our studios)

ALBUM OF THE WEEK: yMusic’s Balance Problems

Posted on November 24, 2014 by maestrobeats

by Maggie Molloy

New York has long been one of the U.S.’s leading centers for new and experimental classical music, and who better to spearhead the city’s lively and eccentric music scene than innovative young musicians?

yMusic is quickly making a name for themselves as one of New York’s most imaginative young music ensembles. The sextet, which formed in 2008, is named for the stylish Millennial Generation from which its musicians hail. Each of its members has their own distinct personal style and musical flair, and together their music toes the line between the classical and pop music worlds.

The ensemble is composed of a string trio carefully balanced with flute, clarinet, and trumpet. yMusic features Rob Moose on violin, Nadia Sirota on viola, Clarice Jensen on cello, Hideaki Aomori on clarinet, Alex Sopp on flute, and CJ Camerieri on trumpet.

Though the group is full of virtuosic, classically-trained musicians, yMusic strives to make classical chamber music accessible to a wider range of audiences outside of the traditional concert hall.

In their new album, “Balance Problems,” the group takes on dazzling new compositions by Nico Muhly, Marcos Balter, Andrew Norman, Jeremy Turner, Timo Andres, Mark Dancigers, and Sufjan Stevens. The result is a series of carefully crafted sonic landscapes which blend imaginative musical textures of enormous depth and detail.

<a href="http://ymusicensemble.bandcamp.com/album/balance-problems">Balance Problems by yMusic</a>

The album’s sound is heavily influenced by Son Lux (Ryan Lott), a fellow genre-bending New York-based musician who served as the producer and mixing engineer for “Balance Problems.” His extensive background in electronic and experimental music informed the mixing process, helping to expand yMusic’s sound while still preserving the integrity of their acoustic instruments.

“Balance Problems” starts off with the title track, a delicate but densely colorful piece composed by modernist Nico Muhly. The piece’s overlapping wind and brass motifs are carefully balanced against the constantly shifting, often pizzicato string backdrop.

Marcos Balter’s “Bladed Stance,” toys with various tempos on different instruments, creating depth through swelling woodwind melodies which whisper like wind, gradually rising and falling with each breath.

Of all the pieces, Andrew Norman’s two-part “Music in Circles” is perhaps the most familiar in structure. True to its title, the piece begins and ends with the same airy, ambient backdrop. If you listen closely, you can even hear someone breathing on the recording. The stark, simple atmosphere gradually gives way to growing depth and drama. The middle of the piece is rounded out with vibrant and colorful timbres, each instrument’s part swirling around each other to produce a brilliant, sparkling musical texture.

The more chaotic tracks on the album are balanced out by softer, gentler compositions such as Jeremy Turner’s “The Bear and the Squirrel.” The piece begins with a rich cello tone, embracing a bass-heavy sound with smooth, sweet strings and a muted trumpet melody. The lovely, dreamlike melodies give the piece a tranquil, lulling quality.

Sufjan Stevens ends the album with “The Human Plague,” a more heavily produced track which experiments with delayed and gated effects. All of the instruments play in sync for the first time on the album, dizzily repeating one rhythm until each voice gradually slows down and fades away into silence. The result is a modern, minimalist finale which seamlessly drives home the album’s theme of blending pop and classical.

As an album, “Balance Problems” is truly brought to life by yMusic’s youthful, imaginative energy and fearless commitment to creating innovative and expressive new music. The group’s extraordinary musicianship and unique ear for pop and avant-garde musical elements allows them to flawlessly tie together two very different musical worlds into one intricate but accessible classical music album.