“All Life Long”, the title of the latest album written by the composer and members Li. Under Simons, de Boa supplies the musical coding of the opening phrase for spirituality, “Nobody knows the problem I saw.” The topic, then, is sadness, sadness songs, sounds of sadness.
Malone’s album, a contemplative collection of pieces for male vocal quartets, five -copper, and a member, skewed in sadness, but not a kind of sadness in which you can drown frankly, as if they were enveloping yourself in the comforter on a cold night. Malone and a group of collaborators recently made a direct presentation of “All Life Long”, at Alice Tully Hall from Lincoln, as part of the annual edition of the Polish Festival other than Sond. Honorary, mysterious work was heard in the key to the minor, in versions of the choir and individual organs. In the first meeting, music appears to be an exercise in the repetition of the minimum archeology, with frequent phrases of five times. Words “All Long Life” are revealed as a primitive sigh. However, there is a consistent tension in the heart of the concept, where the tankers resulting from the texture in almost every tape-against E, D-SHARP against E, C against B. where one of these Emiratisation is resolved, and another interferes. The tension becomes only in the last repetition, as the nude time interval swells and then separates.
This is simultaneous and forbidden music, and has retreated from the multiplicity of excessive paragraph in the late Middle Ages and the early renaissance. You may expect the composer to be a solitary hermit, and live in a lighthouse on an uninhabited island otherwise. Malon, in fact, a thirty -year -old scientist who grew up in Colorado and played in experimental teams in the teenage years; In 2012, she moved to Stockholm, where she became active in the scenes of drones in the city. Her husband, Stephen Omali, who also plays a member of “All Long Life”, is a founding member of the Metal Band Done Drmen O))), which was also performed in UNS Sound. So far, Malon has won more follow -up in the electronic world than the classic field. However, the beauty of “all long life” may bring their new fans. Its existence is wide as is mysterious.
Two days after the Hall’s Tolmus, I met Malon in Sarah de Roosevelt Park, on the eastern side. When basketball players ascended in the background, its formative methods, favorite control systems, and the free floating condition between musical traditions and species were described. “I grew up as I sang classic voice music,” she told me. “I was in the children’s choir, then I went to a middle school and high school, where I was an audio pioneer.” But it also attracted towards the places of the underground music in Denver, where it spent most of its youth. At the age of sixteen, she joined Simon’s Rock, an early program from the college in Berkshires, where she started playing in a dual noise.
Malone’s life took an unexpected turn when, on a trip to New York, she met the Swedish experimental composer Ellen Arcpero, who told her about the scene in Stockholm and called her to visit her. After an exploratory trip, I decided to move there, and finally entered the training program at the Royal Music College. It became loyal to the cavity, where time breaks are adjusted according to the full proportions. The music created on these lines, such as cutting huge drones in La Monte Young, features a strange purity that is completely different from the round sound of the modern equal system, where time breaks are homogeneous. Malone was also searched for electrical sound devices, and benefited from the facilities in the state -funded electronic music studio and the artist run by the artist.
Malon was never a keyboard – in the gangs, she played the role of guitar and singing – but found in Stockholm herself working as a coach for members’ alerts, who led her to Arkane of the oldest sound designers. She told me: “I realized that I could translate these experiences that I had on the computer on the member.” A decisive leap jumped when she got access to the historical organs that were seized in a required mood, which maintains full full rates for certain time periods. A copy of the members of “No Sun To Burn”, a formula that appears twice on “All Life Long”, was recorded on the Malmö Art Museum tool in the sixteenth century, among the oldest members of the world. The piece begins with a graduation and a gradual duration of E-Flat, D-Flat, C and B-Flat. With the music move to the upper record, the two thirds take a strange smear, at least to the ears used to its modern seizure.
The professional outcome inhabits a world of primary breaks and ropes, and set the contract to match traditional standards. Malone music in some respects reaches rituals, an countless test of potential groups of harmony. She told me, “I love working in a restricted system.” “I give myself three, four, or five strings, then I see what I can do with exchange, I am looking for a group of different emotional identities.” The ropes have cultural identities associated with: the main trickery, bright trilogy, a dark secondary trilogy, the ideal five are strong, Tritones and Semitones worry. In the hands of Malon, these associations change under the pressure of repetition, especially in the folder sound in the organ. She referred to another path in the album, “A prison on the water beach,” as she indicated, that the supposed demonon Titon becomes influential, and even sensitively, in a fifth rigid scene.
In addition to separating the ordinary, Malon’s strange approach to rhythm and speed in her music music. To some extent, with the spirit of serial composers in the twentieth century, it controls the periods of notes according to a rotating matrix of values. In the movie “No Sun To Burn”, the opening up pattern is two rhythms, four beats, six beats, and eight beats. The upper line follows the same style, six beats behind. In the next section, the pattern changes to four, six, eight or two; Then to six, eight, two, four; Finally, to eight, two, four, six. This irregular rhythmic sequence, along with the instability of simple consensus in Malon, generates tension that accumulates backly. It seems as if music was controlled by some of the slow medieval mechanism – a member of his own mind.
Malon is in no way non -personal operator for systems. She invests a lot of herself in her music, although she is away from providing many details, for fear of besieging listeners in a limited interpretation framework. While planning “All Long Life”, she thought about the solitary work of climbing mountains-her father was climbing and strong dirt before an accident other than life-and Du Boa raised the endless political conflict. (The drawings of “The Souls of Black Folk” are provided with a second Korian text, in the form of James Russell poem “The current crisis”: “The truth forever on the scaffold, / wrong forever on the throne. “Traffic through the fields”, whose text comes from the contemporary Italian philosopher, Giorgio Agapin: “There is a warm infection, a touch that drowns and returns to the use of what was separated by the sacred and escaped.” .
The vocal and copper arrangements for “all long life” are properly designed so that one can see that the pieces become reference elements of groups with gradual thinking. However, at the present time, Malone does not want to provide music outside the coordination she invented. She is hard -working with her collaborators to find a right balance for wonderful accuracy and expressive warmth. The band at Tully included singers Matthew Robbins, Sam Sterekland, Zac Riter and Brian Momrt; Luke Spence and ATSE Theodros. Austin Spostuato player. And Tombonon Nikki Appie and Jennifer Henkel, the last of which is accompanied by a impressive calm medical dog, Kita. The trumpet and composer Sam Nester performed most of the evening, until Malon took herself.
The cumulative power of the event in Tully justifies Malon’s warning about leaving its creations of its grip. The sound settings came first, then a set of pieces for copper. Finally, Malone and O’Malley entered the device, sits side by side in the evidence. The copper, which was placed in the near appearance, strengthened the textures in the closing sections. In “No Shams to Burning”, the penultimate work seemed to be the rays of hope separated, as copper had lived on electronic notes, f, and G, calling the fog of euphoria from the tones. In the “unification of internal and external life”, a variety of fogs came again, with the electronic nitur grinding calmly against F. However, there was a calm in the Arctic in this distant gray sound – not the place of rest, certainly, but a protected space though. ♦
