Some archival releases are historically important, restoring a significant musical movement to present-day consciousness. Others can throw accepted history into a different light, making the past a deeper, richer source for new inspiration. As a modern musical experience, listening to historic recordings of the avant-garde is often an excercise in intellectual curiosity, or a dark form of amusement: the interpretations and performances are often unpolished or uninformed, at worst incompetent and, even at their best, often drily literal (and sometimes no worse for that). It’s a rare and exciting event when the archaeological trip works equally well as a compelling new release.
Gentle Fire: Explorations (1970 – 1973) is a superlative example of all that is best in archival box sets. Paradigm Discs has form for presenting ‘lost’ music at its most potent; this set has been years in the making and all the work has paid off in spades. In late twentieth century avant-garde music, the British group Gentle Fire is often mentioned but seldom heard. Active in the late 60s and early 70s, they remain best remembered for a small vinyl legacy: their recording of Stockhausen’s Sternklang and a German LP of pieces by the New York School. CD reissues are piecemeal and/or capriciously expensive. Explorations is three CDs of Gentle Fire recordings which, as far as I can tell, have never been publically available in complete form. Even if you are familiar with the 70s LPs, everything’s an ear-opener.
Disc one tackles familiar territory: previously unreleased performances of Cage, Stockhausen, Christian Wolff, Earle Brown and Toshi Ichiyanagi, all from 1970 or 1971. The typically rough-hewn electroacoustic sounds of the period are all present and correct, yet it all sounds less stark or abrasive than other contemporary avant-gardisms, even compared to their own LP. The only repeat here is Brown’s Four Systems, given an ingeniously austere realisation with Hugh Davies applying band-pass filters to a droning string ensemble (other group members Graham Hearn, Richard Orton, Richard Bernas, Michael Robinson and Stuart Jones filling in on whatever instrument is needed). There’s more detail in the Electrola LP, but the recording here is more focused on a coherent musical statement than on numbering off each of the score’s elements. It’s this emphasis on using open scores to produce a fully realised piece of music instead of “exploring possibilities” that sets Gentle Fire apart from other experimental music groups of the time. The disc starts off with a small surprise, with Christian Wolff’s For Jill instructing the performers to concentrate on combinations of selected notes into chords – an unusually traditional material compared to his better-known group realisations. An ensemble of home-made instruments by Davies et al nudges Wolff’s score back into the uncanny.
Two selections from Stockhausen’s Aus den sieben Tagen (Aufwärts and Treffpunkt) show the strength of the ensemble’s musical vision. They’re not afraid to “lead the tone wherever your thoughts lead you” as enjoined by the score, even as Stockhausen heavily directs those thoughts towards convergence. Their idea of “always return to the same place” is a lot more conceptually open and makes the piece soar in unexpected ways. Similarly with Aufwärts, where unlike with at least one other ensemble, they would not agree with, let alone solicit, Stockhausen’s guidance on what “the rhythm of the universe” might be. (Incidentally, there’s a great article in The Wire going over Gentle Fire’s history with the surviving members, including the whole “working with Stockhausen” experience.) Ichiyanagi’s Appearance threatens to get aggressively harsh but never lets up the suspense, with judicious use of ring modulators and sinewave generators creating a bleak, ominous landscape out of trumpet, cello and electric organ. Cage’s Cartridge Music does get appropriately rowdy, amping up small sounds into a cavernous roar. It’s a live recording and the audience is plainly amused by the antics required to produce some of these noises, thus fulfilling Cage’s wish that electronic music be at least as theatrically satisfying as live acoustic performance.
The second two discs are the real revelation, featuring compositions by individual group members and two large “group compositions”, each one shocking in how they interect with both their own time and ours. The pieces bring a healthy dose of the Cagean, Fluxusy extremes of the US avant-garde into the distinctly more genteel British millieu. It was a fertile period, sort of post-Cage but pre-Nyman, and Explorations expands this field hugely, beyond the usual assumed constraints of process music and the assumed freedoms of AMM. That skill for mixing acoustic and electronic comes into its own here. Stuart Jones’ Ruthie’s Piece sounds almost contemporary, using isolated piano sounds with heavy ring modulation against soft cello harmonics to create what could pass for 21st-century ambient. Richard Bernas’ Almanac For September is a more restless work but it also sets muted piano against cello harmonics, using purely acoustic means to alter tone and resonance in ways that resemble electronic processing. In Michael Robinson’s 2 Pianos Piece the composer is joined by Richard Bernas in a lop-sided process of repetition and augmentation that would fit alongside works by John White or Christopher Hobbs. Graham Hearn’s Centrepiece takes a rudimentary idea of “soloist with tape loops” and interprets it as a haunting, evocative soundtrack of muffled organ lost amongst the remnants of run-out grooves on old records. It’s a long, long way from the academic exposition of novel compositional structures.
The two group compositions push into new territories, with performance verging on installation. Group Composition VI (unfixed parities) from 1973 has the ensemble electronically transmitting and modifying speaking voices, filtering and disrupting speech with modified telephone equipment to create a dense, barely intelligible verbal soundscape. Its sonic novelty is ripe with the implications of technology, reproduction and intervention, information overload, alienation and spatial dislocation. As a dispassionately prophetic work, it’s a thrilling and disturbing space for meditation. In fleeting moments it recalls various Alvin Lucier compositions. Group Composition IV originated on the Pyramid Stage at the first Glastonbury festial in 1971 and is here recorded at the Roundhouse in London the following year. It features the gHong, a large assembly of suspended metal rods which can be played collective and coaxed into a wide array of complex sounds, augmented by various additional instruments, including Davies’ own homebrew springboards and a VCS3 synthesizer. This recording takes up the entire third disc, sounding and resounding for over an hour of deeply textured sounds that are simultaneously monumental and delicate. It’s a glorious thing.
Sound quality ranges from good (the concert recordings) to great; the cleanup work is seamless and transparent. The CD version comes in a slick box and a hefty, well-edited booklet with plenty of pictures, full documentation of who did what where and when, and a complete reprint of Hugh Davies’ essential essay Gentle Fire: An Early Approach to Live Electronic Music. Exemplary. I think a second pressing is on the way.
Filed under: Music, Reviews by Ben.H
Tags: Christian Wolff, Earle Brown, Gentle Fire, Graham Hearn, Hugh Davies, John Cage, Karlheinz Stockhausen, Michael Robinson, Richard Bernas, Stuart Jones, Toshi Ichiyanagi
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More guitars, and the editor as composer
Saturday 21 April 2018
In Sonic Youth’s imaginative but haphazardly executed album Goodbye 20th Century, their tackling of various Cage and Cageian compositions contained one key insight: electric guitars can be equated with percussion. John Cage first made a name for himself as a percussion composer using various exotic instruments and found objects, but in his later pieces he refrained from attempting to define, or even suggest, what percussion instruments to use. There was just no point, as he had found that no two percussion instruments could be relied upon to sound sufficiently alike. Morton Feldman made the observation that, while the piano, the violin had all reached a consensus ideal through centuries of focused development, the relatively neglected percussion instruments were still a little erratic.
With electric guitars, these distinctive traits became their selling point, each manufacturer promising a unique ‘tone’. This feature was immensely expanded by the introduction of additional technology: amplifiers, filters, effects boxes. With several generations now raised on guitar-centred popular music where no two musicians’ setups are alike, a composer’s score calling for an electric guitar seems vague to the point of being foolhardy… unless they approach it in some way rather like Cage. (It’s an interesting example of one of the ways Cage ceded control of his music to the performer’s tastes.)
A couple of weeks ago I heard the Belgian electric guitar quartet Zwerm play at Kammer Klang. Their set included a realisation of Earle Brown’s December 1952, interpreting the score in terms of pitch, attack, and effect pedal settings. The music was effectively electronic, rather than electroacoustic, with the guitar moved beyond amplification into being a medium for producing and transmitting electrical signals. Prior to this, they performed Joanna Bailie’s Last Song From Charleroi, a piece that combines e-bowed electric guitars with field recordings of abadnoned industrial spaces. With the presence of the four guitarists on stage, it was easy to forget that not all of the sounds you heard were coming from them.
I’ve been hearing a lot of guitars lately. As well as their recent CDs of acoustic guitar playing by Taku Sugimoto and Cristián Alvear, Another Timbre have released a solo disc by guitarist Clara de Asís. I’ve heard her realisation of d’incise’s Appalachian Anatolia (14th century), which was also recorded by Alvear at about the same time. On Do Nothing, Asís plays acoustic guitar, with percussion, but the results are in the realm of electroacoustic music, with their emphasis on the shaping and colouring of sound forming the music’s content. Asís’s playing is as clear and precise as before, with isolated guitar notes doubled on percussion instruments, creating subtle varieties of attack and overtones. Other sections are rolling interludes of mechanically-assisted percussion, acting like a slowly morphing sound sculpture. By the end, bowed guitar tones have been blended with sustained percussion sounds, resembling both but neither.
When Zwerm played their own adaptation of Dowland’s viol music for their guitars, their use of distortion sometimes called up associations with ‘heavy’ music which can seem overbearing and undersophisticated – in a word, cheesy. Guitarist Stephen O’Malley frequently places an emphasis on these dark, dramatic qualities in his playing, which can verge on the ridiculous. I first listened to Rêve Noir, his collaboration with Anthony Pateras, with a little trepidation. Putting the disc in my computer’s CD reader revealed the album was originally titled “Tape Exorcism”. The album is not exactly the live improvisation it first appears to be. Taking the concert tapes from 2011, Pateras has now used them as raw material to play through his Revox machine, cutting up and meseing up the original document. A steadily growing drone is suddenly cut dead by Pateras, just as you think O’Malley is about to break loose. Soaring washes of sound are strangled, a full-flight roar of instruments is spat out in echoing fragments. Guitar static suddenly switches to half-speed piano thuds. The three-part suite is dramatic and ominmous, all the more for keeping you suspended in uncertainty until the very end.
