Sheffield’s indie new music label another timbre have been on a heck of a burn the last few months, and two more luscious looking discs have recently fallen through the door this week. With the eyes of the sporting world turned on God’s own county thanks to the opening stages of the Tour de France, I figured the time had come to give considered appraisal to some recent releases from this Yorkshire-based label.
The six discs pictured above are, in order of release:
- Richard Glover: Logical Harmonies, various (at66)
- Bryn Harrison: Vessels, Philip Thomas (at69)
- Skogen: Despairs Had Governed Me Too Long (at71)
- Martin Iddon: pneuma, various (at72)
- Laurence Crane: Chamber Works 1992–2009, Apartment House (at74 x2)
- Antoine Beuger: tschirtner tunings for twelve, Konzert Minimal (at77)
I’m going to give them all a short review over the coming days; keep checking back.
As you can see, apart from the release by Swedish ensemble Skogen they are all single composer portrait discs (and, in the case of the Harrison and Beuger releases, single works too). And in fact, despite its credit line, the Skogen disc is also a sort of composer portrait, being a 56-minute performance of an open-form piece by the group’s founder, Magnus Granberg. (More on this distinction when I come to review the disc itself.)
However, don’t get the impression from this that composer portraits are exclusively what another timbre do. In some ways this is quite a selective cross-section of their recent catalogue, much more of which deals in performer-led experimental and improvised work. Indeed the same might be said here too: the thing I enjoy first whenever I encounter anything released on AT is recognising the connections – not of aesthetics as such, but of values and sensibilities – between the different musicians represented, and tracing those connections back through the network of composers and performers for whom these musical relationships are the same as their personal ones.
Some of that is just to do with geography: many of the musicians featured on the discs above are based in Yorkshire, AT’s territory (as has been observed, the north of England is sometimes better served for new music than the south). London and Berlin are also important centres. But there’s something else too, a fluid, 21st-century approach to experimental music-making that isn’t hung up about composer/performer authority, that doesn’t recognise ideological lines between free improvisation, open notation (whether text or graphics), or a fully notated score. It’s not even a self-consciously radical approach to boundary breaking. Those boundaries simply no longer exist: Bryn Harrison’s precisely determined notation exists on the same plane as John Cage’s Cartridge Music or some archived improvisations by Hugh Davies. It’s just, shrug, what are we playing today?
Which should not give the impression that anything here is done with less than 100% attention and sincerity. In nearly every case these are exactly the musicians you would want to make the benchmark recordings of these pieces; very often they have worked closely with the composers over extended periods, as is certainly the case with Philip Thomas’s recording of Vessels, an epic 75-minute solo composed for him by his Huddersfield colleague Harrison. It’s also true of Apartment House’s 2-CD set of Laurence Crane’s chamber music; composer and ensemble have been collaborators for years, and this was a project born out of an immense store of mutual respect and affection (half seriously, Anton Lukoszevieze tells me he’s been waiting for this album for 20 years). Over the next few posts I’ll be digging deeper into these treasurable recordings.