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![Michael Price - A Stillness
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Erased Tapes has signed yet another talented modern composer. The label has done an exemplary job over the past few years, gathering them all in the same place. While Michael Price is the latest of these, the artist is no newcomer; without ever learning his name, most of the world already knows him.
Price is best known for his television and film score work, from music editing on The Lord of the Rings to full composition on Sherlock. But the production of scores is a commissioned job, subject to directorial whims: “we need more romance, more oomph, more subtlety here and here and here.” What a relief, then, to have the time to produce a short EP of original material under no constraints at all. A Stillness is a humble 4-track 10″ containing music sheets, a nod to the underlying artistry. Price’s intention is “to create a small Stillness in a noisy, hyper-connected world”. In 12 minutes, he weaves a sonic nest in which the busy notes can lay their weary heads.
The strings sweep across the sonic field in an uplifting fashion; it’s likely that Price had scenes in mind while composing, even if none were provided. Cellos and violins dance softly across a velvet floor, following the gentle guidance of Price’s baton. The listener feels comforted by their presence. Although the suites are short, they dredge hidden emotional reserves; the bittersweet “A Bridge” uses melody against extended notes to create a source of tension, while “A Reaching” shifts moods by varying the inflection of a four-note motif. In closing piece “A Tenderness”, a similar four-note motif softly yields to three, creating a lovely coda and betraying the composer’s cinematic roots.
We’re used to saying that a recording artist should consider writing soundtracks; here the hope is inverted. We’d love to hear a full-length album from Price, and trust that Erased Tapes is already expressing the same sentiment.
- A Closer Listen](http://25.media.tumblr.com/8802ae65a1c166c13888af2ee62bf484/tumblr_mgo1h752wf1qcd21uo1_250.jpg)
![Kiasmos - Thrown
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Well, this is unexpected - neo-classical type Ólafur Arnalds and his mate Janus Rasmussen take an engrossing detour into the world of techno, replete with remixes by Falty DL and 65daysofstatic. They’ve previously grouped as Kiasmos for a split with Rival Consoles, but to be honest i’ve not heard it, so this 12” is a bit of a shock. I’d be inclined to compare their two cuts with the likes of Pantha Du Prince, or The Field - it’s all murmuring, melancholy hooks, deep padded bass and elegiac synth drift, clearly composed by a pair of skilled and highly capable musicians. ‘Thrown’ is almost too precious for the dancefloor, but worked at the right time it could be so lush, while the brooding bassline and Badalamenti-style chord progression of ‘Wrecked’ is well recommended to lovers of dark, sensual European techno. Falty DL’s remix of the former brings it even closer to PDP terrain, teasing out tingling trance comtrails and reshuffling the rhythm to expert schematics, while 65daysofstatic’s mix of the latter sounds like Steve Moore meets Gavin Russom.
- Boomkat](http://24.media.tumblr.com/b1b9763fbc6f9a82286e093413ba7a2a/tumblr_mgo15it2IX1qcd21uo1_250.jpg)
![Comadre - Self-Titled
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In most introductory film theory classes, students learn about something called the “auteur theory.” It holds that the director is the primary creative force or “author” of a film. It has been modified in recent years to focus more on filmmakers who take on multiple roles, like writer/directors such as Kevin Smith and Quentin Tarantino. However, the theory is frequently debated due to the sheer volume of creative roles that exist in film. Costume designers, cinematographers, composers, and even actors all have a hand in the final product, and the overall tone and image of a film (this is recently evidenced by multiple critics noting the lack of Sally Menke’s editing hand in Tarantino’s latest film Django Unchained). While, the theory may not hold for film, it may hold true for Bay Area mainstays Comadre, especially on their latest self-titled album. Looking at the liner notes, there is exactly one outside name (band photographer and trumpeter on “Drag Blood” Lev Perry). All the instruments were played by the band’s five members’ all the production was done by guitarist Jack Shirley (at Shirley’s own Atomic Garden Studios no less); even the photography and layout were done by vocalis, Juan Gabe. The end result is an album 100% made on Comadre’s terms in both sound and appearance, and it’s 100% fantastic.
While most of Comadre’s previous work is a frantic, fast paced cacophony, their latest effort is far more mellow, perhaps even poppy. While tracks like “Cold Rain” could fit nicely on their older work, there’s a slew of pieces breaking new ground for the band. “Summercide” channels the band’s more traditional emo influences right down to the piano and organ rounding out the sound. Branching out further, the band feature a heavy western sound on “Drag Blood,” which could be a modern soundtrack to an outlaw gunfight. The oddity of the record is that the more traditional songs (featuring heavier melody and more standard verse/chorus structure) are the more unusual for Comadre, yet they are no less fitting or powerful.
Perhaps more than a particular sound, Comadre’s hallmark has been meticulous attention to detail. Taking most of 2012 to write and record their self-titled, Comadre set no schedule and held themselves to no expectations. This could easily have resulted in an album of strange, self-indulgent experimentation; the closest the band let themselves come is “Untitled” which clocks in at 3:31 (incredibly long by Comadre standards) and features crashing percussion, organs and even a saw but no vocals. But Comadre craft the album with masterful form, never allowing anything to stray too far, or allowing any track to alienate itself from the album as a whole. While the album definitely highlights the journey, with each track forming its own sound and narrative, the album clearly has a destination which keeps new sonic elements and styles from frivolity and meandering about.
Even though it’s vastly different from their previous work, it’s hard to call 2013’s self-titled record experimental, as Comadre have long been known for experimenting. The band itself have always felt like a bit of an experiment; compiled from the remnants of other Redwood City bands, featuring two sets of siblings, releasing series of free mixtapes (often with new and unreleased material) and focusing on a tireless DIY ethic (it’s like an anti-Oasis). Their self-titled album reflects this makeup perfectly. This is an album made by people who don’t want to rehash what they’ve been doing for 15+ years and are just as willing to try new things as they are to admit when something doesn’t work. It’s an album that is just as diverse as it is focused and it’s an amazing way to start 2013.
- Punk News](http://24.media.tumblr.com/1f9d44ee6d6b5fdbe091a7fb6c919e76/tumblr_mgnpwrVLjs1qcd21uo1_r1_250.jpg)
