THRENODY ENSEMBLE

Timbre Hollow

CD, All Tomorrow’s Parties

Threnody Ensemble bridge the gap between (neo-)classical and avantgarde just as easy as the gap between composition and improvisation and many other opposites as well. “Timbre Hollow” is a quiet but nevertheless mighty piece of music that takes its input from baroque concertos to experimental pop. In other words: a mix between Brahms and Radiohead and it works out well.

How much classical education does one need to play, write or understand modern classical or avantgarde music? Easy answer: none. Not necessarily. Nevertheless, any kind of surplus knowledge is good for you. Expanding your horizon, testing new things and questioning the limits is always a good thing. For instance, Brahms’ “piano trio No. 1 in B (op.8)” is the most beautiful piece of music I have ever heard and who would ever have guessed so. For beginners in all things classical music I’d recommend Vivaldi’s “Four Seasons”, everyone likes that. The Presto of “Four Seasons” even made it on a compilation called “Heavy Classic”, which features the loudest, wildest and most rocking pieces written for classic orchestra. What a strange idea? But one, that is not afraid to draw connections between musical genres that couldn’t be further apart from each other. And Threnody Ensemble do the same thing.

“Timbre Hollow” was released in the USA by a label specialised in modern, classical music. The members have a history of playing in “progressive” (in the best sense of the word) rock-bands, playing with A Minor Forest but also working with a very wide variety of bands / artists from Fugazi to Edith Frost. They basically play something that could be described as a very modern, avantgarde version of chamber music. Their pieces are partly composed and partly improvised. Sometimes they fuse non-European rhythms and textures into the music, then step back to explore sounds and noises. They were basically a three-piece with two guitars and one cello, but they constantly work and record with differing other musicians. The sounds come from acoustic instruments but also from computers. Sometimes they work as a fully equipped orchestra with dynamics as heavy and driving as those of Godspeed you black emperor!, other times they are only interested into how two guitars picked very softly interact with each other. So, what exactly is the Threnody Ensemble apart from freedom? Well, it is exactly that. A new connection between all kinds of things imaginable. This is what music is here for – to enlighten, enrich spiritually and to break down barriers. Because fusions and trespassings of this kind are the only possibility to let something new come alive. Sometimes it works, sometimes it does not – this one definitely is a winner.

This is a record, which is both interesting and beautiful intellectually and aesthetically, though it is never inaccessible. Quite contrary, the music of the “Threnody Ensemble” encompass the listener with a warm and gentle hug. Especially in a sparsely arranged but nevertheless beautiful and rich piece such as “The Machine”, with a little over eleven minutes of two guitars and one cello working up ideas from baroque concertos as well as from the avantgarde experiments of the Sixties right through to the Nineties. Of course, a record such as this one, needs time and ease, but if both are available, the favours are on the side of the listener.

03/2003