You sometimes get the feeling that musicians these days are frightened of complexity. It seems to go back to the 1990s, when Pärt and Górecki captured the imaginations of a wider audience. Live musicians started to describe themselves as “lowercase”. Poor dead Feldman got conscripted to a bunch of causes. It’s still a big thing today.
I’m not saying it’s wrong, but sometimes you get the feeling that this hushed reverence for sound is an act of worship more out of fear than love. It’s nice then to hear musicians who aren’t trying to impress you with how damn much they care.
A bit over a year ago I heard Morphogenesis play their first live show since 2010. There was a piano, violin, tables of amplified objects, old cassette recorders, electronics ranging from the ingenious to the trashed. There were disputes, debates and openly aired doubts about the whole enterprise. One member resolved to perform entirely from his car parked outside the venue. The audience loved it: the music was always alive, filled with ungraspable meanings and a self-destructive potential that never dissipated. After more protracted debate, a recording of the event has been released on Otoroku. It sounds as good as I remembered, probably because enough time has passed that I can no longer recollect details.
I talked a few weeks back about Anthony Pateras and Erkki Veltheim’s Entertainment = Control album, released on Pateras’ Immediata label. It’s one of a series of six CDs in which Pateras collaborates with other musicians in a way that renders the distinction between improvisation and composition irrelevant. The selections have been made from performances going back over 15 years. Each album comes with a transcribed conversation between the musicians, which are almost worth the price alone.
Subjects of interest crop up again and again: politics, money, sex. These aren’t presented as public statements of ideology (what was once the preserve of Nono has now been delegated to Lily Allen) but as a discussion of the messy context in which this music has been made, the forces which have shaped it into its present form, streaming through your speakers.
In 2009 we all flew to Baden-Baden, most of which the Russian mafia has bought up for weekenders. The place itself radiates the deadness that accompanies concentrated wealth: everything is simultaneously pretty and rotten, and psychotherapy was booming.
When the sleeve notes of the ensemble Thymolphthalein’s album Mad Among The Mad begin like this, you know you’re back in a more tumultuous, plain spoken era, far removed from the bland comfort and complacency that these days is too often mistaken for professionalism. I’ve gone on about the sleeve notes so much because they reflect the music so well. The musicianship on all the discs is highly polished but the musical forms are new: as much a renunciation as an accommodation of the prevailing social, financial and cultural factors in which new music is made.
Thymolphthalein was an electroacoustic ensemble working from a form of “systematized improvisation” (“Improv heads hated it, composers found it crass”). The sounds as well as the genres bleed into each other, a welter of details held taut in sharply-defined shapes. It all feels closely argued, enough to please a London Sinfonietta subscriber, with a confounding mix of electronics and technological manipulation that concert-hall composers are only just starting to catch up with. Occasionally there’s an outburst of mayhem to frighten the neighbours.
There’s more. Astral Colonels is an alter ego of Pateras and Valerio Tricoli, in which Tricoli has deconstructed and remixed improvisations between Pateras on various keyboards and Tricoli on open-reel tape recorders. The disc captures the feel of their old live shows, yet adds both complexity and space to the soundworld. The Long Exhale pairs piano and electronics with Anthony Burr on clarinet, in a set of carefully considered improvisations that focus inward on the sound of their instruments, as finely paced as a fully composed work without ever becoming reduced to the purely minimal.