Music / “This Is What We Have At the moment”. At Ralph Wilson Theatre, Gorman Arts Centre, December 2. Reviewed by ROB KENNEDY.
NEW music is significant to the longevity of music as an artwork kind. This live performance by musicians/composers highlighted the standard of a bunch of multi-talented native artists.
The composer musicians have been Ronan Apcar, Oliver Kuskie, Eleanor Bladon, Joel Dreezer, Lily Fowler, Emily Sheppard and Lynden Bassett.
Opening with “A Novel Instrument”, by Kate Neal and Sal Cooper, carried out by Ronan Apcar on keyboard. On a semi-dark stage, Apcar stood studying a ebook and consuming a espresso. He then throws the ebook to the bottom, then one other and one other till all of the books earlier than him are scatted on stage. Music books, in fact, he’s had sufficient of them and maybe his coaching.
He performs and, within the background, a video follows alongside to his taking part in. It’s repetitive, it’s within the treble, it ends rapidly. Then he declares: “Welcome to this psycho live performance”.
Then got here “Haze”, by Eleanor Bladon, with Brad Tham, violin, Anika Chan, violin, Yona Su, viola, Eleanor Bladon, cello. A loud, dynamic, rhythmic piece strutted its stuff into the ears of the viewers. It quickly turned reflective, delicate, interspersed with bursts of dissonant rhythmic pulses. It wanders, however it’s well-constructed, film like. The taking part in sensational.
Subsequent up was “Plastic within the Depths”, by Joel Dreezer. Carried out by Joel Dreezer, flute, Lynden Bassett, electrical guitar, Apcar, keyboard.
A whisper starting from all three gamers. It’s amplified, it echoes, it’s atmospheric. Then it’s a jazz work straight out of the ’70s, however it’s additionally classical. It’s contemporary and bouncy. It drifts however has one thing to say. It’s in actions, then it pulses for only a second; it’s alive and a whole lot of enjoyable.
Then one thing uncommon within the music world, a dual-composed piece, “Welcome to Infinite Content material Limitless”, by Ronan Apcar and Oliver Kuskie. The performers have been Lily Fowler, voice, Brad Tham, violin, Yona Su, viola, Eleanor Bladon, cello, Apcar, keyboard.
Fowler comes wandering on to stage. That is surreal in sound and imaginative and prescient. She talks and sings of infinite content material. It’s a conflict of music. The gamers yell out as an odd video accompanies them. Fowler appears to be like and sings the half properly. Her voice highly effective and theatrical. Then the music does one thing else. It’s loopy, it crosses genres outdated and new; it’s a hell of a whole lot of enjoyable. Fowler owned this piece.
After the interval, a video work, “Gross Steel Physique Shit”, by Milo Mclaughlin and Jordyn Fulcher. It’s sexual, noisy, it has a story in between the electro happenings of the audio and video. It’s tough to clarify, however it’s well-produced. Estrangement appears to be the theme.
Then “Vízalatti Világ” (Underwater World), by Lily Fowler, with Grace Blomfield, soprano, Lilly Flower, alto, Peter Gedeon, tenor, Tim Kelly, bass, Lynden Bassett and Anika Chan wine glasses, Apcar, keyboard. Sounding so much like a church service, with a video, this isn’t meant to be an experimental work, however it sounds prefer it. It’s odd and authentic.
“Fold In Sifted Flour, Ginger, Bicarb”, by Lynden Bassett adopted. This was a efficiency inside music. An entire eclectic composition, which I dare not clarify, however it had plastic bag blowing and carrot grating. Dadaism, the place have you ever been?
Ending the night time with “Aftermath”, by Emily Sheppard with Yona Su on solo viola. Composed as a response to the rainforest fires in Tasmania, it could be classed as a bit for a five-string viola, as Su will get to sing. It has an odd sound, like pre-renaissance with up to date parts, led to by the weird tuning approach.
Su says she will’t sing, however she will, and she or he certain can play. It is a story of hope, rejuvenation and musicality. It was a stunning strategy to finish this entertaining psycho live performance.
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