|
Realtree -
SPLENDOR FALLS ON EVERYTHING AROUND
C60
Side A:
1. (8-30-19) Hemlock forest, birds
2. Philosophy for the good times
3. Blossoming fruit trees
4. Maximum light
5. Stars
6. (8-30-19) Hemlock forest, table saw
Side B:
1. Palimpsest
2. The memory reminds how all earthly joy ends
3. (11-3-19) Bike to Andy and Flynn's
4. APPENDIX A. I
5. APPENDIX A. II
6. APPENDIX B. I
7. APPENDIX B. II
8. APPENDIX B. III
9. (11-4-19) Sweeping outside, light rain
Bandcamp
Carley Olson Kokal - Bb Clarinet
Michelle Kinney - Cello
Patrick Marschke - Laptop
Noah Ophoven-Baldwin - Cornet
Adam Zahller - Guitar
All compositions by Noah Ophoven-Baldwin
Recorded, mixed by Patrick Marschke
Photos by Danny Epstein |
Reviews:
(Disaster Amnesiac) Moving on to cassette number two from the recent eh? Records delivery, we find Splendor Falls on Everything Around, the recording debut from Realtree. Realtree are a quintet, made up of Carley Olson Kikai on B flat clarinet, Michelle Kinney on cello, Patrick Marschke on laptop, Adam Zahller on guitar, and Noah Ophoven-Baldwin on cornet. It seems as though Ophoven-Baldwin is the leader of the group, in that he is listed as the main composer for the music of Splendor. Using derivations from Arnold Schoenberg's Verklerte Nacht as jumping off points for this composition, and consisting of a polyphonic core piece and an appendix of duo and trio works, the music on this cassette presents itself to the attentive listener in really magical ways. The word attentive is key here, for the sounds are never forced. Instead, one is treated to several movements of sublime moments. The way that this quintet interact with each other has been blowing Disaster Amnesiac's mind for days. Splendor features the kind of playing that is not flashy or demonstrative. Instead, the players are clearly paying very close attention to both the score and to their fellow group members. The closer you choose to listen, the more that you'll hear just how tight this group is. There have been times when, as I've listened, I've felt the same way that I did after being exposed to Gagaku, or Miles Davis, or Albert Ayler, or Karlheinz Stockhausen. You know, that otherworldly stuff. Realtree hits on those levels, and speaking of Miles, I swear that I heard a quote from Bitches Brew coming from Ophoven-Baldwin at some point. The ways that Noah slurs and trills with his horn are really fun to hear as well. This action, paired with the stated focus and attention from everyone in the group, and its resulting sounds, have had me further entranced with each listen. I recall one morning where this music, paired with the sunlight moving across a wall opposite of me, when some kind of deep satori was reached. I also recall imagining the score as some kind of tissue, laid over Schoenberg's score, and its sounds appearing as pinpricks of light emerging through. Splendor Falls on Everything Around is a captivating debut from a very special group. As Disaster Amnesiac writes this, I'm feeling as though I'm not saying enough, or not going as deep as this music deserves to be treated. Don't take my word for it, then. If you're at all interested in current composition, or Improvised Music, you'll want to find and dig a copy of this excellent cassette for yourself, you will not be disappointed for having done so. - Mark Pino
(Bad Alchemy) eh? ist das Spielbein von Bryan Days brut + oddio ausgerichteter Sonic Fiction, das auf Kassetten rumspielt. Nahtlos fügt nun REALTREE dem in BA 108 gereihten eh?-Katalog als nächste Fragwürdigkeit Splendor Falls on Everything Around (eh?114, white C-60) hinzu. Der Kornettist & Komponist Noah Ophoven-Baldwin und sein Ensemble mit Carley Olson Kokal an Bb Clarinet, Michelle Kinney an Cello, Patrick Marschke an Laptop und Adam Zahller - Guitar arbeiten dabei in Minneapolis mit dem Holz der Schierlingstanne aus den Wäldern am Südufer, der Shipwreck Coast des Lake Superior. Ophoven-Baldwin verklärt das dortige Ambiente mit Schönbergs "Verklärte Nacht", einem seiner Lieblingsstücke. Einerseits als polyphonic core piece, mit jedoch, B-seits, noch einem Appendix aus monophonen Duos und Trios, eingerahmt und durchbrochen von Fieldrecordings von Waldvögelein, Holzfällersäge, Straßenverkehr. Sein Kornettton, extrem gepresst, dissonant gestopft oder als eintöniger Vogelruf führt das Ensemble durch reduktionistisch abgerissene oder dröhnminimale Dekonstruktionen von Melodie und Mondschein. Wobei man sich nicht nur durch spitze oder knorrige E-Gitarrensounds und Laptopnoise dornige Stiche und Abschürfungen zuzieht. Ostinate Repetitionen sind ebenso ein Leitmotiv wie gezogene Haltetöne, euphone Klänge werden von ständiger Verstümmelung konterkariert. Good times und earthly joy reichen kaum als Vogelfutter. So wie Musik und die Wirklichkeit sich gegenseitig aushalten sollten, besteht Zweisamkeit, programmgemäß, darin, Reibungen und Missklänge auszuhalten - Kor. + Git., Klar. + C., C. + Kor., Git. + C. + El. machen es fragil und nahezu unisono vor. Zuletzt vor der eigenen Tür zu kehren, ist allemal ein guter Zug. - Rigo Dittmann
|
