Reaffirming its status as one of the most exciting innovations in the recording and marketing of modern composition since the introduction of magnetic tape, Cold Blue Music‘s series of “singles” issues three new gems.
Reaffirming its status as one of the most exciting innovations in the recording and marketing of modern composition since the introduction of magnetic tape, Cold Blue Music‘s series of “singles”—a new, minimalist or post-minimalist work rarely longer than twenty minutes, premiered on its own disc in the label’s usual beautiful packaging—issues three new gems. Harold Budd is the common denominator in this trilogy—all the composers and two of the performers have either studied or worked with the California pianist/composer. In Sarah Cahill’s case, she executed a live performance of Kyle Gann’s transcription of the composer’s “Children on the Hill” that he classifies as “heaven.”
First, the evanescent wind chime orientalism of Michael Byron‘s In the Village of Hope, played by Tasha Smith Godínez on the harp, conveys a train schedule of emotions.
Pianist Sarah Cahill plays Peter Garland‘s After the Wars without pardon. Garland explains that the agonistic nature of the piece reflects the fact that even after the guns go silent, “war leaves scars that take a long time, if ever, to heal.” Each movement is based on a Chinese or Japanese poem. “Summer grass / all that remains / of young warriors’ dreams” is the most bellicose. Apparently, in the region, summer is traditionally the season of war. And of course the bombs were dropped on Hiroshima and Nagasaki in the month of August.
Finally, Chas Smith‘s Twilight of the Dreamboats is alchemical ambient, turning a ton of metal sculptures and homemade steel guitars into a single, drifting, golden feather. Thirteen minutes that go on forever and ever.
The three albums are available on Cold Blue Music.
