Welcome back for another round of recommendations from our New Voices of 2016! We hope you enjoyed our last playlist, but this time we have a slightly different set lined up for you: from choral to electronic, guitar, piano and strings, this month’s playlist mainly visits a slightly more acoustic realm of new music. That is, except for the simulation of the prehistoric parasaurolophus’ vocal-chord music, “which was found to resemble a trombone in shape”. Seriously interesting stuff (to say the least).
We had quite a few submissions, but I (me, Emma Sugarman, hello) have picked a few favourites. These are some of the people you should be looking out for according to the experts…
Top picks include artists:
Luke Deane // Recommended by Ryan Latimer
Anna Palmer // Recommended by Ryan Latimer
Anton Lukoszevieze // Recommended by Lawrence Dunn
Cheryl Francis-Hoad // Recommended by Deborah Pritchard
Kevin Volans // Recommended by David Coonan
Owen Green // Recommended by Laura Reid
Press play…
Did you enjoy that? Of course you did. I’ve reviewed a few below, but please do tell us what you think by leaving a comment!
- Description and 2. We Are Eating Luke Deane
Some background information for you: scientists from Sandia National Laboratories and the New Mexico Museum of National History and Science have been able to recreate the sounds of a parasaurolophus (that lived during the Late Cretaceous Period), using what one can assume to be remains of their vocal chords which apparently resemble the shape of a trombone. As if that wasn’t enough, someone has gone and made music out of it – and that someone is Luke Deane.
The whole EP is chillingly curious, like when you’re scared of something but you want to go near it anyway (I hope I’m not the only one who gets that). The background sounds provoke a strong, imagined visuality due to the knowledge of how the piece was made – although the ‘dinosaurs’ do sound remarkably similar to ship horns in parts. Yet, I’m not sure if the nagging wonder of ‘did it actually sound like that?’ detracts from the musicality of the piece, although it certainly adds to its interest which more than makes up for it. I added this artist because I was just absolutely fascinated with the whole album, and that brought me immediate gratification. It’s definitely one to listen to, and I hope you enjoyed it too – if not the music, at least its concept!
Save The Bees Man Anna Palmer
Aptly named, Save The Bees Man features ‘buzzing’ sounds in its background. The expert layering of the two contrary textures capably simulates the impression that the tumbling piano driving the piece is a representation of a flying bee. The piece as a narrative seems to offer five resolute statements: the four resolves in the first half of the piece can be interpreted to establish a beginning of a story, to connote a sense of melancholy, an unsteady totter, finally followed by a conclusive remark same as the beginning. The longer passage of the second half is like a dramatic tale of terror told by an excellent and beautifully spoken storyteller. The repetitive and measured tumbling of the piano connotes a sense of stimulating persistence, yet I feel that it is really the elegant resolves of the first half that bring this piece to life. It all feels as though it’s falling and taking flight at the same time.
White Mans Sleeps Mvt 4 (Excerpt) Kevin Volans
Following a traditional folk compositional style, this piece is the definition of easy-listening. The gentle lulling and melodic singing of the guitar quartet is both graceful and delicately sprightly, the layered guitars complementing each other carefully and harmoniously. One is reminded of a kind of medieval courtyard, although the piece is certainly a modern take on a traditional-sounding music with bass tones leading the coda. It’s just a shame it’s only an excerpt!
For more recommendations of who to look out for in the near future, have a gander at our exclusive Q&A interviews with the New Voices, featured weekly on The Sampler. Thus far (from 6th May to 11th August), we have profiled: Alex McLean; Sally Golding; Andrew Thomas; Sarah Hughes; Nick Morrish-Rarity; Larry Achiampong; Aleksander Kolkowski; Leslie Deere; Deborah Pritchard; Lawrence Dunn; Ryan Latimer; Bobbie-Jane Gardner; David Coonan; and Laura Reid.
Article by Emma Sugarman, Sound and Music Communications Intern.
