DAVID VIRELLES - Antenna
ECM 571 044 (Vinyl EP & Download)
David Virelles: acoustic piano, Hammond B3 organ, Roland JUNO-6, Vermona electric piano, Wurlitzer electric piano, prepared piano, programming, samples; Alexander Overington: electronics, samples, cello; Henry Threadgill: alto saxophone; Román Díaz: vocals; Marcus Gilmore: drums, electronic percussion; Rafiq Bhatia: guitar; Etián Brebaje Man: vocals; Mauricio Herrera: percussion
The Cuban-born and Brooklyn-based pianist David Virelles follows up his ECM debut, Mbòkó, with this six track,22 minute EP that is as far removed as it is possible to get, and also the polar opposite to his work in the American quartet of Tomasz Stanko with whom he has toured and recorded.
With Antenna, Virelles has more or less turned his back on the acoustic instruments in favour of a feast of electronica utilising industrial noise and distortion within his compositions, yet retaining the rhythmically complex use of percussion that also was a feature of his previous album. Often the sound is dense, a veritable jungle where only the fittest survive with soloists occasionally able to fight their way through to add variety and to almost humanize once again the music being made, imposing not just melodic fragments but also shading in the colour to music that might otherwise have been very black and white.
This blend of electro-acoustic ensemble is heard to stunning effect on 'Water, Bird-Headed Mistress' in which the alto saxophone of Henry Threadgill weaves its way through the fabric of electronically created sounds, his indomitable spirit refusing to become subservient to the surrounding wash of sound. Another piece that relies heavily on the human aspect is 'Threshold' with more than a passing nod to the free improv tradition and powered along by Marcus Gilmore at the drums. The most completely realised "composition" is found on 'El Titán de Bronce' with its superb juxtaposition of acoustic and electronic sound worlds, and features the pianist's most cohesive playing on the EP.
All in all Antenna is an intensely demanding yet satisfying listen. A unique take on Virelles' musical life in his adopted homeland and a homage to his Cuban roots that is prevalent in both the opening and closing tracks on this recording. Quite how this unique recording will fit within his discography is a point for conjectureas the career of this enterprising and imaginative musician progresses.
Reviewed by Nick Lea
ECM 571 044 (Vinyl EP & Download)
David Virelles: acoustic piano, Hammond B3 organ, Roland JUNO-6, Vermona electric piano, Wurlitzer electric piano, prepared piano, programming, samples; Alexander Overington: electronics, samples, cello; Henry Threadgill: alto saxophone; Román Díaz: vocals; Marcus Gilmore: drums, electronic percussion; Rafiq Bhatia: guitar; Etián Brebaje Man: vocals; Mauricio Herrera: percussion
The Cuban-born and Brooklyn-based pianist David Virelles follows up his ECM debut, Mbòkó, with this six track,22 minute EP that is as far removed as it is possible to get, and also the polar opposite to his work in the American quartet of Tomasz Stanko with whom he has toured and recorded.
With Antenna, Virelles has more or less turned his back on the acoustic instruments in favour of a feast of electronica utilising industrial noise and distortion within his compositions, yet retaining the rhythmically complex use of percussion that also was a feature of his previous album. Often the sound is dense, a veritable jungle where only the fittest survive with soloists occasionally able to fight their way through to add variety and to almost humanize once again the music being made, imposing not just melodic fragments but also shading in the colour to music that might otherwise have been very black and white.
This blend of electro-acoustic ensemble is heard to stunning effect on 'Water, Bird-Headed Mistress' in which the alto saxophone of Henry Threadgill weaves its way through the fabric of electronically created sounds, his indomitable spirit refusing to become subservient to the surrounding wash of sound. Another piece that relies heavily on the human aspect is 'Threshold' with more than a passing nod to the free improv tradition and powered along by Marcus Gilmore at the drums. The most completely realised "composition" is found on 'El Titán de Bronce' with its superb juxtaposition of acoustic and electronic sound worlds, and features the pianist's most cohesive playing on the EP.
All in all Antenna is an intensely demanding yet satisfying listen. A unique take on Virelles' musical life in his adopted homeland and a homage to his Cuban roots that is prevalent in both the opening and closing tracks on this recording. Quite how this unique recording will fit within his discography is a point for conjectureas the career of this enterprising and imaginative musician progresses.
Reviewed by Nick Lea
