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Under The Spire

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Black Eagle Child, “Go Around, Again” (Under The Spire, 2012)

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This was recorded at the same time as last year’s spectacular Pages on a Plane album (which is still in heavy rotation at my place), but takes things in a dramatically different direction. I dearly hope this new direction is merely a one-off experiment though, as Michael Jantz’s current manic, maximalist psychedelia streak is decidedly not for me. Fortunately, there is one truly great “old-style” piece included that prevents Go Around, Again from leaving me totally exasperated.

While he has certainly diverged from my expectations in the past, I have always felt that the core of Jantz’s aesthetic was a kind of warm, rustic Americana. I never expected Black Eagle Child to churn out acoustic guitar instrumentals forever, but I also never expected such a drastic shift in tone and approach. Somewhat perversely, Jantz’s acoustic guitar remains prominent for this effort, but it is the backbone of an overwhelming one-man ensemble rather than the intimate focal point. 

That would not be a problem if the arrangements and compositions were more compelling, but on pieces like the 15-minute “Sun Cylinder,” Michael endlessly flogs the same cheery motif and basically uses all the extra instrumentation solely for doubling and density. That piece is not a fluke either, as “Running Around the Room” follows a very similar trajectory. Texturally, Jantz has some good ideas, as the pieces are filled with spirited clopping and clapping, odd burbling, and twinkling xylophones, but it is not quite enough to prop up the fairly weak, one-dimensional material.

But then there is the simple, bittersweet banjo piece “Phrases of the Moon,” which easily stands among Jantz’s finest work. Despite featuring a thumping bass drum and a xylophone, it sounds nothing at all like the rest of the album, differing drastically in both mood and approach (opting for spaciousness rather than wall-of-sound layering). It is pretty much a perfect song in every regard, from the languorous melody to the subtle interplay between instruments to the quietly insistent maracas, yet it somehow manages to get even better around the halfway point due to the appearance of delay-heavy electronics that seem like lingering afterimages.

I think “Phrases” makes this album grudgingly mandatory for Black Eagle Child fans, but I found the other three songs to be pretty grating despite their occasional flashes of inspiration. All of the other reviews that I have read seem uniformly excited about Jantz’s foray into wobbly, candy-colored exuberance though, so perhaps Michael is merely the hapless victim of my subjective aversion to happiness. I bet history will vindicate me though.

Listen here.

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myrmyr, “Fire Star” (Under The Spire, 2011)

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Marielle Jakobsons’ trajectory since her stunning solo debut as Darwinbitch in 2009 has been devoted to rather curious and specific stylistic detours, dabbling in both Indian classical music (with Date Palms) and Eastern European traditional music (on myrmyr’s The Amber Sea). This time around, however, Marielle and Agnes Szelag eschew any overtly global/traditional nods and play things comparatively straight, delivering an alternately enchanting and disturbing suite of classical-damaged drone pieces.

The secret to a great deal of myrmyr’s beauty and uniqueness lies in their instrumentation, as Szelag (a cellist) and Jakobsons (a violinist) are both gifted multi-instrumentalists with a fondness for organic, acoustic textures. They certainly employ electronics and processing, but the music on Fire Star very recognizably originates from strings, harps, bells, and other natural sources. Szelag’s cello is my favorite single aspect of the album, as the scrape of the bow across the strings has a gritty physicality to it that is especially powerful in the lower registers. 

That said, myrmyr’s greatest gifts lie in their thoughtful arrangements and the deft interplay between textures. The wonderful and striking opening piece, “Hot Snow Part I,” is a perfect example: it begins with a pleasantly chiming and delicately plucked harp motif, but descends into darker and more emotionally resonant territory when the heavy cello drones swell into the picture. As the piece unfolds, the melodic figure remains very crisp and distinct, while the Szelag seizes the foreground and dictates the pace and heaviness with her low-end bowing. The right instruments are playing exactly the right parts.

The second and third parts of “Hot Snow” maintain that great momentum, delving into both beautifully layered violin-based chamber drone and something that sounds like the Yo Yo Ma songs from the Wisconsin Death Trip soundtrack being reinterpreted by The Hope Blister. I definitely did not expect melancholy strings and clapping to complement each other so perfectly. In fact, “Hot Snow Part III” is among my favorite songs that I have heard this year, evoking a perfectly bittersweet and autumnal sort of warmth. 

That feeling does not stick around for the whole album though, a situation that would normally be disappointing, given how successful Agnes and Marielle were at nailing that particular mood. Improbably, however, myrmyr’s late album plunge into the much darker waters of heavy, pagan-sounding psychedelic drone could not be more welcome. I’ve been waiting for two long years for Jakobsons to be blackened and scary again and I could not wish for a more spectacular return to form than the swirling and groaning “Golden Ashes.”

I enjoyed myrmyr’s previous album, but I viewed it more as a likable side-project than the beginning of something exciting and substantial. Fire Star is on a completely different level in almost every respect though. I can officially say that I am no longer pining away for another Darwinsbitch album, as it is clear that Agnes and Marielle are meant to be working together. This is great from start to finish.

Listen here.