|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
review by Michael Debbage It was one of those rare occasions when Southern California was facing a cool overcast day with drizzling rain. Add to the fact that it was the weekend, the temptation to remain under the warm blankets was significant. So instead I brewed myself a hot cup of tea and reviewed the compelling yet understated project of Tim Story and Hans-Joachim Roedelius. Loaded with a ponderous amount of reflective material and avoiding any obvious melody this made for a perfect soundtrack on a day like this. While the name Tim Story is familiar to me, I know very little about his music. I am even less informed on his musical partner Hans-Joachim Roedelius. Thus off to the world wide web I trotted and found out that both have had a long recording career just not necessarily in the musical circles that I am particularly proverbial with. Tim is American born who has always enjoyed integrating electronic sounds with his more organic approach. On the other hand, there is the German born Roedelius who perpetuates the use of sound manipulations and was one of the early pioneers in the electronic ambience musical world. He too has been very prolific in his recording sessions that have also included collaborations with the well-respected Brian Eno. So it appeared that these two artists had enough in common that it would generate a musical partnership. To say that there is a meeting of the genres here is an understatement. While there is electronic exploration via the wizardry of Roedelius, Story balances the music with his palatable minor key classical approach. Add some fine cello work and the partnership makes for a perfect balance of, for the lack of a better phrase, the wind and the wire. Although the album does not lack for a melody it is never overstated or gaudy. It is more unpretentious and diffident in its approach making the music memorable yet modest. The opening track "Something Happened Here" is a great place to hear such results. There is a flow and ebb to the melody while never dominating. Equally as effective is "Clue" that includes some wonderful swirling though passive electronic works that compliments the piano. I am not sure who is doing what as there is little in credit information. Not that it matters, as the results are impressive anyway. Less memorable moments are the intrusive and annoying "Under Mars We Were." Though this experimentation is not always a failure. Check out the almost off key yet interesting "Dew Climbs" that includes some interesting spatial themes. Or for that matter the fleeting "Uferlose Sea" that would have worked wonders if expanded further rather than in the interlude form present here. One of the most enjoyable moments of the album is the bouncy and smooth "Akimbo" that includes nominal percussion work giving the composition its heartbeat. Countered by the classically tinged "Cloud Pull" with its fine cello work the album begins to wind down in preparation for the mellow magic of "Nevertheless." Though this project would not be regarded as one of my top favorites, the album has its moments that make for an adventurous expedition. The merging of these two fine musicians makes for a very interesting collaboration bringing the organic and electronic, the wind and the wire together as one. |
|
