Seth Parker Woods: asinglewordisnotenough
Seth Parker Woods
These are good times for contemporary cello playing and, by extension, contemporary music for the cello. Recent albums by Séverine Ballon and Arne DeForce might stake out the heavyweights’ territory, but don’t overlook work by emerging artists like Seth Parker Woods.
Woods is another graduate of Huddersfield University’s doctoral performance programme, and if this is reflected in any particular way it is in the language of space and force – trajectories, smears, intersections – that spatter his album’s sleevenotes. The four pieces recorded here are plenty varied, however. They range in length from roughly 4 to 24 minutes, and in style from the loose, street art-inspired sonic tags of Edward Hamel’s Gray Neon Life, to the electronic swarms of Michael Clarke’s Enmeshed 3 and George Lewis’s Not Alone, to the glitchy bleeps of Pierre Alexandre Tremblay’s asinglewordisnotenough3 (invariant). This is the cello at its most raw, least lyrical, a rethinking that in this album’s best moments is thrilling.
Lewis’s piece – one of three here written for Woods – is the biggest contribution in all respects, but it’s the pieces by Hamel and Tremblay that have most caught my ears. Hamel deploys a fragmentary, post-Lachenmannish mode of fragile harmonics and spoken interjections, but does so in an almost casual, improvisatory mode – no doubt due in part to his score’s graphic component and delegation of many decisions to its player. It has a disarmingly unfussy vibe that I really like. Tremblay’s piece is simply the most fun: a pan-dimensional, post-techno romp through electronic tones and cello grinds. It’s not a combination I’d heard before (at least, not quite like this), and although there are points where cello and electronics dance each other into related sonic territory, more of the time it’s the distance between them that gives the music its poetic effect, the electronics providing an austere digital architecture within which the resolutely analogue cello can find its voice.