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Track Listings
| Disc: 1 |
|---|
| 1. Transamerica |
| 2. The Solution |
| 3. End of Day |
| 4. Taskforce: Farmlab |
| 5. Centrifuge |
| 6. Outerborough |
| 7. Icy Sleeves of Green |
| Disc: 2 |
| 1. A Needle Pulling Fred |
| 2. Tree-Oh |
| 3. Inward Bound |
| 4. Crossroads |
| 5. and the sky was still there |
| 6. Fast Pasture |
| 7. Storm Drain |
| 8. The End of an Orange |
| 9. Killer |
| 10. Killer, for violin & electronics |
Editorial Reviews
Review
Though Outerborough is just his first solo album, violinist/composer Todd Reynolds holds an impressive résumé, including memberships in Bang on a Can, Steve Reich and Musicians, and his own avant-garde string quartet, ETHEL. But his compositional skills and cross-century aesthetics leave a longer-lasting impression, offering dynamic melodies and structures alongside amplification, loop effects, and laptop electronics.
Outerborough, meanwhile, is no ordinary debut. As a double album, it presents two sides to Reynolds: one as adventurous neoclassical composer and one as interpretive performer. The first disc contains seven personal compositions that achieve a wide range despite fairly limited timbres (although one unique track is performed by the League of Electronic Musical Urban Robots' Guitarbot). The second disc holds nine previously unreleased pieces by other acclaimed musicians, including David Lang, Phil Kline, andNick Zammuto and Paul de Jong of The Books. --Alarm Magazine, Chris Force & Scott Morrow, March 2011
Outerborough, meanwhile, is no ordinary debut. As a double album, it presents two sides to Reynolds: one as adventurous neoclassical composer and one as interpretive performer. The first disc contains seven personal compositions that achieve a wide range despite fairly limited timbres (although one unique track is performed by the League of Electronic Musical Urban Robots' Guitarbot). The second disc holds nine previously unreleased pieces by other acclaimed musicians, including David Lang, Phil Kline, andNick Zammuto and Paul de Jong of The Books. --Alarm Magazine, Chris Force & Scott Morrow, March 2011
Product Description
Todd Reynolds is one of the founding fathers of the hybrid musician movement. Creating acoustic-electronica in real-time with only his 17th-century violin and a 21st-century laptop onstage, his sound mixes borrowed and home-brewed, avant and pop, jazz and classical. 'A daredevil musician' (The New Yorker) his evolution is marked by long-time associations with Steve Reich, Meredith Monk, Bang on a Can, and ETHEL, the string quartet he co-founded in 1999.
Now, comes his first solo album, 'Outerborough', a 2CD set that reveals him as both a composer and as one of the most sought-after interpreters of contemporary music.
'The first reaction to these CDs - a full-bodied representation of Todd's musical world is that of breadth, of porousness, the genre-crossing dream realized. Raga, jazz and blues, electronica, minimalism, fiddling traditions, Kreisler, rock and roll intermingling and dialoguing in all the ways we had always hoped for.' composer, Evan Ziporyn
One disc the InSide features seven of Reynolds' own works, many of which use looping and layering techniques over which his violin lines soar effortlessly or create deliciously expanding densities. The pieces range from electronica to Renaissance stylings (a minimalist version of 'Greensleeves') and the title track, 'Outerborough', inspired by train travel, written for a film by Bill Morrison. 'Transamerica', features West Coast beatboxer and singer Kid Beyond; and 'Centrifuge' was created for the super-human abilities of the GuitarBot (one of the LEMUR instruments recently featured on Pat Metheny's Orchestrion Tour).
The 'OutSide' disc contains premieres of music by a host of New York notables, some connected with Bang on a Can, some with the über-popular the Books, and all with personality to spare. The electronic tones of Michael Gordon's and Paul de Jong's pieces belie their acoustic origins; mash-up master Michael Lowenstern pays tribute to blues legend Robert Johnson; David T. Little's 'and the sky was still there' incorporates the story of a soldier caught up in the de-humanizing policy of (recently-repealed) Don't Ask, Don't Tell; Nick Zammuto (also of the Books) fast-forwards a field recording for some time-compressed pastoralism.
In his 'Storm Drain', Ken Thomson joins Reynolds on bass clarinet for a tight virtuosic romp that rises to fever pitch; Paula Matthusen explores language and memory in 'The End of an Orange', and Pulitzer prize-winner David Lang brings everything to a close with 'Killer', featuring thrashing and relentless violin lines which live alongside a just-as-relentless rhythmic track in what might seem like it was written for a punk band of one, all at once rebellious and incisive.
Now, comes his first solo album, 'Outerborough', a 2CD set that reveals him as both a composer and as one of the most sought-after interpreters of contemporary music.
'The first reaction to these CDs - a full-bodied representation of Todd's musical world is that of breadth, of porousness, the genre-crossing dream realized. Raga, jazz and blues, electronica, minimalism, fiddling traditions, Kreisler, rock and roll intermingling and dialoguing in all the ways we had always hoped for.' composer, Evan Ziporyn
One disc the InSide features seven of Reynolds' own works, many of which use looping and layering techniques over which his violin lines soar effortlessly or create deliciously expanding densities. The pieces range from electronica to Renaissance stylings (a minimalist version of 'Greensleeves') and the title track, 'Outerborough', inspired by train travel, written for a film by Bill Morrison. 'Transamerica', features West Coast beatboxer and singer Kid Beyond; and 'Centrifuge' was created for the super-human abilities of the GuitarBot (one of the LEMUR instruments recently featured on Pat Metheny's Orchestrion Tour).
The 'OutSide' disc contains premieres of music by a host of New York notables, some connected with Bang on a Can, some with the über-popular the Books, and all with personality to spare. The electronic tones of Michael Gordon's and Paul de Jong's pieces belie their acoustic origins; mash-up master Michael Lowenstern pays tribute to blues legend Robert Johnson; David T. Little's 'and the sky was still there' incorporates the story of a soldier caught up in the de-humanizing policy of (recently-repealed) Don't Ask, Don't Tell; Nick Zammuto (also of the Books) fast-forwards a field recording for some time-compressed pastoralism.
In his 'Storm Drain', Ken Thomson joins Reynolds on bass clarinet for a tight virtuosic romp that rises to fever pitch; Paula Matthusen explores language and memory in 'The End of an Orange', and Pulitzer prize-winner David Lang brings everything to a close with 'Killer', featuring thrashing and relentless violin lines which live alongside a just-as-relentless rhythmic track in what might seem like it was written for a punk band of one, all at once rebellious and incisive.
Customer Reviews
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Most Helpful Customer Reviews
6 of 6 people found the following review helpful
By Mike Maguire
Format:MP3 Music
This two CD set revolves around the musical exploits of one insanely talented fiddler/composer, Todd Reynolds. The first CD is just his music; the second is Reynolds performing mostly NYC composers.
First of all, it's great to get my hands on the 1st CD, as there has been so much buzz! Reynolds is definitely part of the new generation of post-post-minimalist but there is a kind of deeply intuitive, uber-musicality going on here that sets him apart from his peers. I love the pan-diatonic openness, warmth, and generosity usually found in jazzers like Pat Metheny or Keith Jarrett -it's completely disarming. Reynolds' heart is all over this CD--this is no composer/mathematician working out his angst-ridden reason for being. This is a very solid performer/composer expressing himself in the most direct way possible. Let me give you an overview about what all the fuss is about:
Track 1.Transamerica
The influence here is electronica and minimalism-, but this is no namby-pamby groove. It's very metered electronica with Stravinsky-like shocking inserts. In using a limited amount of material in as many ways as possible, it brings tremendous focus to the music. Of course, it helps that his fiddle playing is scorchingly hot with impeccable intonation, rhythm, and phrasing. All the way through the acoustic element is in perfect balance with the electronics.
2 The Solution
It starts with pizz. canons/delays and a very simple modal progression. Polytonal sustain strings enter reminiscent of Reich's string writing (It is also vaguely reminiscing of a Matt McBain CD I reviewed recently). What follows is stereoized arco chords followed by thick, pan diatonic chords which are seriously drop-dead beautiful. Overtop is some very cool Kreisleresque solo violin improv, with constant great jazz detailing in the harmonic writing. The ending involves a pizz. return of the opening with some gorgeous stereo imaging.
3. End of Day
Here a renaissance progression is repeated with extremely even bowing. This guy is no sloth as a musician. This soon becomes a theme and variations, again with nice jazz harmonies tossed in at the end of phrases. Gradually the material gets phase/ delayed creating a beautiful, Lassus-like, eastern European, spiritual, minimalism.
4. Task force
More amazingly sharp, detailed, colorful playing featuring jette, pizz trems, harmonics and some very heart-felt grooves. The playing is very assured, with very subtle use of electronics. This reminds me a bit of Reich electronic remixes; only here the music is more fluid, less canonic, cookie-cutterish. It just flows seamlessly from one section to the next.
5. Centrifuge
This piece is slightly faster, complete with a head one usually associates with death metal. Reading the liner notes this piece was written for a guitarbot(!!) And as I'm reading, it's great the way the piece gradually starts to sound like Deep South blues in very slow motion.
6.Outerbouough
Number 6 opens with pizz. delay and right away has a NYC subway feel ---you can hear this without even reading the liner notes. There's a real lightness, transparence and unclutteredness in the writing. Eventually more great solo playing emerge overtop. Although it's more in the trance minimalist bin (it's music for video), there are lots of coloristic delicacies to sink ones' ears into. The percussive sounds are very fresh -they have a homemade crispness.
7. Sleeves of Green
Great groove harmonics open the track followed by nice explorations of the violin timbres. Overlade on top lots of backwards violin while Green Sleeves acts as the cantus firmus. He's also never afraid to get a groove on.
The second CD could never live up to the musical onslaught of the first, even though it's resplendent with better-known composers.
1. A needle pulling thread /Phil Kline
The Cantus firmus is in canon with Webernesque pauses articulating the structure. This folds into a nice electronica, dark groove. In the later harmonized version of the cantus fimus, there is a fresh use of chromaticism and overlapping textures. This is a cool spin on classical music meets minimalism meets electroinca. The beautiful bass progression towards the end opens to high tremelo strings.
2. Tree-oh /Michael Gordon.
By far my favorite piece on he 2nd CD, Gordon presents a kind of renaissance progression beautifully distorted with cross rhythms--both written and by using delay or overdubbing. As usual, Gordon's material is very stark and sparse with lots of surprise modulations. A kind of intense hypnotic minimalism ensues. Gradually the music seems to be physically lurch from side to side in its' Andriessenesque starkness. It feels/sounds like going down in an airplane during extreme turbulence. His music has a way of attacking the listeners whole being, so the more sensitive individuals beware. And stay away from drugs also!
3. Inward Bound /Paul De Jong
The 3rd track is something completely different -simple, child-like glockenspiel, toy piano, Biork-like electronics. There's a beautiful overlay of violin on top. Throughout a lot of sensitivity to color, intertwined with a pop sensibility (except for all the gorgeous detail).
4. Crossroad /Michael Lawenstern
Here the composer uses a blues sample not unlike Moby. Overtop is some very authentic Appalachian fiddle playing. Then a serious Pop ride and kick enter, while Reynolds does some very hip improv overtop.
5. And the sky was still there /David T. Little
Little's piece opens with some cool progression in the fender Rhodes, while a political narrative unfolds overtop. It's not my place to comment on this powerful jab at the military industrial complex, but musically it's evenly marked, metered bar lengths phrasing, while Reynolds does some amazing distorted flanging overtop.
Cool piece!
6. Fast pasture /Nick Zammuto
Retro Electronic!! An old moog bubbles with all kinds of modulating patches inserted, while Reynolds is doubling 16th note sequenced/arpeggiated lines on top. There's something very nostalgic about the writing -when electronic music sounded like, well, electronic music. One really odd thing--there are environmental wind and bird noises in the background throughout the piece. Hilarious and very weird.
7. Storm Drain /Ken Thomson
Number 7 is for bass clarinet and violin and opens with a simple pizz. pattern and with a Quaker-like harmonic accompaniment. This is very much the most conservative piece on the CD.
8. The end of an Organge /Paula Mauthusen
It starts with text, then humming over top, much in the `stile Oliveros/ Monk /Anderson'. There's a kind of whimsy one associates with women composers,
in that it's more theater than music--it's more about the moment than composition process.
9. Killer /David Lang
The final piece is a metered, distorted, harmonic progression accompanied by interlocking, arpeggiated, distortion on violin. The complexities of the interlocking never really goes anywhere but this compositional decision is seminal to a lot of Lang's work. There is always a still, non-momentum quality in Lang's music, not unlike a dark period Rothko or all period Franz Kline.
This 2nd CD has a very broad range of post-minimalist composers--to the point some are clearly not post minimalist composers. There are some real gems on here -pick and choose. It's also never clear, in the recording sessions, where Reynolds' chops begin and the composer ends.
First of all, it's great to get my hands on the 1st CD, as there has been so much buzz! Reynolds is definitely part of the new generation of post-post-minimalist but there is a kind of deeply intuitive, uber-musicality going on here that sets him apart from his peers. I love the pan-diatonic openness, warmth, and generosity usually found in jazzers like Pat Metheny or Keith Jarrett -it's completely disarming. Reynolds' heart is all over this CD--this is no composer/mathematician working out his angst-ridden reason for being. This is a very solid performer/composer expressing himself in the most direct way possible. Let me give you an overview about what all the fuss is about:
Track 1.Transamerica
The influence here is electronica and minimalism-, but this is no namby-pamby groove. It's very metered electronica with Stravinsky-like shocking inserts. In using a limited amount of material in as many ways as possible, it brings tremendous focus to the music. Of course, it helps that his fiddle playing is scorchingly hot with impeccable intonation, rhythm, and phrasing. All the way through the acoustic element is in perfect balance with the electronics.
2 The Solution
It starts with pizz. canons/delays and a very simple modal progression. Polytonal sustain strings enter reminiscent of Reich's string writing (It is also vaguely reminiscing of a Matt McBain CD I reviewed recently). What follows is stereoized arco chords followed by thick, pan diatonic chords which are seriously drop-dead beautiful. Overtop is some very cool Kreisleresque solo violin improv, with constant great jazz detailing in the harmonic writing. The ending involves a pizz. return of the opening with some gorgeous stereo imaging.
3. End of Day
Here a renaissance progression is repeated with extremely even bowing. This guy is no sloth as a musician. This soon becomes a theme and variations, again with nice jazz harmonies tossed in at the end of phrases. Gradually the material gets phase/ delayed creating a beautiful, Lassus-like, eastern European, spiritual, minimalism.
4. Task force
More amazingly sharp, detailed, colorful playing featuring jette, pizz trems, harmonics and some very heart-felt grooves. The playing is very assured, with very subtle use of electronics. This reminds me a bit of Reich electronic remixes; only here the music is more fluid, less canonic, cookie-cutterish. It just flows seamlessly from one section to the next.
5. Centrifuge
This piece is slightly faster, complete with a head one usually associates with death metal. Reading the liner notes this piece was written for a guitarbot(!!) And as I'm reading, it's great the way the piece gradually starts to sound like Deep South blues in very slow motion.
6.Outerbouough
Number 6 opens with pizz. delay and right away has a NYC subway feel ---you can hear this without even reading the liner notes. There's a real lightness, transparence and unclutteredness in the writing. Eventually more great solo playing emerge overtop. Although it's more in the trance minimalist bin (it's music for video), there are lots of coloristic delicacies to sink ones' ears into. The percussive sounds are very fresh -they have a homemade crispness.
7. Sleeves of Green
Great groove harmonics open the track followed by nice explorations of the violin timbres. Overlade on top lots of backwards violin while Green Sleeves acts as the cantus firmus. He's also never afraid to get a groove on.
The second CD could never live up to the musical onslaught of the first, even though it's resplendent with better-known composers.
1. A needle pulling thread /Phil Kline
The Cantus firmus is in canon with Webernesque pauses articulating the structure. This folds into a nice electronica, dark groove. In the later harmonized version of the cantus fimus, there is a fresh use of chromaticism and overlapping textures. This is a cool spin on classical music meets minimalism meets electroinca. The beautiful bass progression towards the end opens to high tremelo strings.
2. Tree-oh /Michael Gordon.
By far my favorite piece on he 2nd CD, Gordon presents a kind of renaissance progression beautifully distorted with cross rhythms--both written and by using delay or overdubbing. As usual, Gordon's material is very stark and sparse with lots of surprise modulations. A kind of intense hypnotic minimalism ensues. Gradually the music seems to be physically lurch from side to side in its' Andriessenesque starkness. It feels/sounds like going down in an airplane during extreme turbulence. His music has a way of attacking the listeners whole being, so the more sensitive individuals beware. And stay away from drugs also!
3. Inward Bound /Paul De Jong
The 3rd track is something completely different -simple, child-like glockenspiel, toy piano, Biork-like electronics. There's a beautiful overlay of violin on top. Throughout a lot of sensitivity to color, intertwined with a pop sensibility (except for all the gorgeous detail).
4. Crossroad /Michael Lawenstern
Here the composer uses a blues sample not unlike Moby. Overtop is some very authentic Appalachian fiddle playing. Then a serious Pop ride and kick enter, while Reynolds does some very hip improv overtop.
5. And the sky was still there /David T. Little
Little's piece opens with some cool progression in the fender Rhodes, while a political narrative unfolds overtop. It's not my place to comment on this powerful jab at the military industrial complex, but musically it's evenly marked, metered bar lengths phrasing, while Reynolds does some amazing distorted flanging overtop.
Cool piece!
6. Fast pasture /Nick Zammuto
Retro Electronic!! An old moog bubbles with all kinds of modulating patches inserted, while Reynolds is doubling 16th note sequenced/arpeggiated lines on top. There's something very nostalgic about the writing -when electronic music sounded like, well, electronic music. One really odd thing--there are environmental wind and bird noises in the background throughout the piece. Hilarious and very weird.
7. Storm Drain /Ken Thomson
Number 7 is for bass clarinet and violin and opens with a simple pizz. pattern and with a Quaker-like harmonic accompaniment. This is very much the most conservative piece on the CD.
8. The end of an Organge /Paula Mauthusen
It starts with text, then humming over top, much in the `stile Oliveros/ Monk /Anderson'. There's a kind of whimsy one associates with women composers,
in that it's more theater than music--it's more about the moment than composition process.
9. Killer /David Lang
The final piece is a metered, distorted, harmonic progression accompanied by interlocking, arpeggiated, distortion on violin. The complexities of the interlocking never really goes anywhere but this compositional decision is seminal to a lot of Lang's work. There is always a still, non-momentum quality in Lang's music, not unlike a dark period Rothko or all period Franz Kline.
This 2nd CD has a very broad range of post-minimalist composers--to the point some are clearly not post minimalist composers. There are some real gems on here -pick and choose. It's also never clear, in the recording sessions, where Reynolds' chops begin and the composer ends.
0 of 2 people found the following review helpful
By ekb
Format:Audio CD
Eargasm. Beautifully written and performed. This album exists on its own sonic plane. My personal favorites are Fast Pasture and Crossroads.
