Earth Tones: Music to Move from Shadows to Light

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by Genevieve Williams

A discussion of John Adams's On the Transmigration of Souls would perhaps have been more appropriate for Samhain -- in fact, I mentioned it in the Samhain column in 2002, shortly after its premiere -- but, given how the piece progresses and concludes, from loss and despair to hope and rebirth, its journey through winter's cycle makes it appropriate for winter's end as well as its beginning. (The recording was issued in late August of 2004, on the Nonesuch label.) Transmigration, if you'll recall, was commissioned by the New York Philharmonic to honor the victims of 9/11. Adams calls the piece a "memory space," and the feeling of space informs the piece, as perhaps it should: this is a work about things missing, things lost. It begins quietly, but not subtly: a few undertones of sound and a single voice repeating "Missing...missing..." to which other words are added, phrases and then descriptions. These texts are taken, as the liner notes indicate, from memorials and missing-persons notices posted around the World Trade Center in the aftermath, many of which were collected in the New York Times feature "Portraits of Grief." They were set to music and are here sung by a small cadre of vocalists as the orchestra surges and thunders behind them. Music, as no other form of art can be, is wired to cathartic emotion, and when the singers repeat "I know just where he is" with a rising panic, the original speaker's grief is reflected and given shape.

I won't lie to you, listening to On the Transmigration of Souls is a difficult experience, so much so that trying to review it on its artistic merits is likewise difficult, as critics more knowledgeable and accomplished than I have already found. As a commentator in the liner notes observes, "It is not at all obvious how music, or any other art, should respond to catastrophe." The fact that Adams was willing to attempt it at all shows a certain amount of daring on his part. Yet it is also the case that On the Transmigration of Souls is an aesthetic success: Not only does it succeed in capturing emotional catharsis in sound, carrying the listener through shock, grief, despair and finally transformation, but it is an elegant construction of composition, voice and prerecorded sound. It is an example of how atonal music's frequently minimalist approach can have stronger emotional effect than the most thundering Wagnerian melodrama. Part of this success hinges on the fact that Adams does not make a political statement with this piece (some of his previous work suggests that he may have been tempted), but instead creates a vessel through which the enormity of the event speaks for itself. In the wake of another, more recent tragedy, this one brought about by the forces of nature rather than being human-made, we're all aware of the difficulty in responding to such events, even once the first shock is past. One of art's functions is to give shape and voice to these things, and on this level, On the Transmigration of Souls is an unqualified success.

Transmigration of Souls is a tough act to follow in every respect, but there are a few other CDs I'd like to tell you about. I can't even claim credit for discovering the first; it was a Yuletide gift from a dear friend. I'm speaking of Legs to Make Us Longer (Epic/Velour/Red Ink), the second full-length release from guitarist Kaki King. If the thought of solo guitar makes you think of the New Age bin at Tower Records, fear not. King is an exciting and innovative player who began as a drummer (it shows in her sophisticated sense of rhythm) and cut her teeth playing in New York City subways and open mikes. It was, in fact, the events of 9/11 that led her to pursue a career as a musician, and fortunately for her (and us), her talent, skill and dedication put her head and shoulders above most buskers. To hear King tell it, listeners on her subway platform started asking her for a CD -- so she recorded one, and the rest is history in the making. Legs to Make Us Longer is entirely instrumental, and entirely solo, but don't let that scare you: It's as musically exciting as a rock band going full-bore, and King also explores some of her instrument's percussive possibilities in a way more commonly found in folk music. In addition, this music is complex enough to warrant immediate, repeated listens in order to catch something you weren't sure you heard the first or second time around. This isn't the sole indicator of a good CD, but it's definitely one of them. King makes you listen, and as such is a welcome antidote for many of the atrocities perpetrated upon the guitar by musicians who think that pretty is the ultimate aesthetic principle.

Those who've enjoyed the music from or influenced by eastern Europe that I've recommended in recent months, or who maybe might just like to give it a try, are encouraged to pick up the recent compilation The Rough Guide to the Music of the Balkans (Rough Guide). The geopolitical lines in this region are redrawn on a frequent basis, but Balkan music has achieved a unity out of diversity that Balkan politics have not. This compilation is a synthesis of diverse musical styles, cultures and even religions, forming a kind of marvelous stew of sounds from Serbia, Croatia, Romania, Macedonia, Albania and more. Accordion features heavily here, as do long, melismatic vocal lines and rich, complex, interwoven harmonies. More specifically, there are brass bands, Gypsy ensembles, performers of epic songs and Turkish-inspired orchestras. The musical roots of this region go deep, and their tenders are used to incorporating outside influences and creating out of them something new, a process that lies at the heart of all folk tradition. The Balkan region and its people have suffered enormously in recent years, but if the creation and perpetuation of such great music is not a justification (and how could it be?), it remains a marvelous expression of transcendence and rebirth. More prosaically, this is downright entertaining stuff, catchy and hard to ignore.

Get even more spring in your step with the new release from Triakel, Songs from 63º North (NorthSide). This trio of vocals, fiddle and harmonium hails from Sweden, and their material is direct and refreshingly unvarnished. This isn't to say, however, that it's rough or amateurish; it simply isn't dressed up with a lot of fancy embellishment. Triakel have an appealing and articulate sound that achieves a remarkable lightness, even with their more somber material, and the upbeat material ("Långmasaguten," for example) is merry indeed. If you're looking for something to chase away the winter doldrums -- and it's probably safe to say that, being from 63° N, Triakel know a bit about that -- this CD might make an excellent choice. Unlike the previous collection, it's not really suitable for ritual accompaniment, though some of the songs, such as "Farväl alla vänner," have a meditative, melancholy quality. Mostly, however, Songs from 63° North is a fresh, charming and entertaining collection that should appeal to fans of Nordic music.

We wrap up with a new release from Vas, the brainchild of vocalist and composer Azam Ali. Feast of Silence (Narada, but don't let the label name fool you) is a delightfully energetic and at times uncanny album, full of sweeping, cinematic soundscapes and ambient textures. You might well hear it at a Goth club; most of Feast of Silence has a good beat you can dance to, and the dark aesthetic would certainly suit the black-clad set. More generally, the strong rhythmic focus and lush sonic layers make Feast of Silence eminently suitable for ritual use, although some of the songs -- particularly "The Reaper and the Flowers" and the title track -- aren't really appropriate for Imbolc. The harvest/death imagery of "Reaper" in particular is much more in keeping with the waning of the year (which means that readers in the Southern Hemisphere should feel free). It's hard to describe this CD in terms that don't make it sound like every other pan-cultural, percussion-heavy, floaty-vocal CD out there, so you'll just have to trust me on this: It's better than that description sounds. If you have a ritual involving dance coming up in particular, I recommend this.

Upcoming shows! Kan Zaman Ensemble presents music of the Arab world at Seattle Town Hall on February 5. Candye Kane performs at the Triple Door February 9. The Kodo Drummers at Meany Hall on the UW campus, February 11-13 2005, see www.uwworldseries.org for this and other events. Väsen will be at Seattle's Triple Door on April 14; this is a first-class venue in which to catch this fantastic trio. Also, I regret to announce that Gaia Consort's February 12 appearance at Darwin's Evolutionary Mystic Ball will not take place, due to cancellation of the event.

Genevieve Williams is a Seattle freelance writer and drummer. She can be reached at rimrun@drizzle.com with feedback, suggestions or recommendations. Local musicians and pagan groups are encouraged to submit material for review and show listings.