From Northern Ireland, young musician Michael Bardon with The Gift of Silence (DISCUS MUSIC DISCUS 125CD), which he made solo using just his double bass and cello (give or take some added effects and stuff). “Back in the 1970s and 1980s,” muses the Discus label owner, “solo bass albums were relatively common. Today they are a rarity.” Possibly he’s thinking of such releases as Barry Guy’s solo improv record for Incus from 1977. Bardon doesn’t seem to me to be much an improviser or a composer, more of a fellow who likes to arrange contrasting tones which he summons from his array – long-form drones, plus percussive effects, scrapes, microtones, and non-melodic melodies. Every now and then he manages a nice astringent cloud of mixed chords, but I still get the feeling it’s all about the textures and the techniques for this man. He also uses the Harry Partch tonality diamond tuning system and makes use of prepared bass, plus there may be electric bass, synths, and pedal effects in the mix. As one who loves the sound of the cello and also that of the bass, I find The Gift of Silence enjoyable enough with its many deep resonating tones and other imaginative playing styles, but there’s a shortage of musical ideas which might sustain interest. Originally from Northern Ireland, Bardon has settled in Leeds, and now plays with several musical groups. (05/01/2022)
Tetuzi Akiyama / Michel Henritzi, Shinjuku No Kage (DYIN’ GHOST RECORDS)
French guitarist Henritzi continues his long-standing association with the music, and especially the guitarists, of contemporary Japanese music, on another fine set of sombre music. On this occasion it looks like the parts were recorded separately in Tokyo and Metz, and at different times, suggesting that what we hear has been edited together. Not exactly an uplifting release – even the cover art is monochrome and rain-strewn, and the translated title includes the word “shadow”, but our duo find much beauty and wistful melancholy in the blacks and the greys of modern existence. Henritzi in particular always seems to favour a minor key on every release I’ve heard from him. Maybe his strings are tuned that way permanently. (19/01/2022)
Nick Robinson, Lost Garden (DISCUS MUSIC DISCUS 126CD)
Guitar instrumentals by this UK player, who is also a member of the uptempo group Das Rad. All the sounds were made with treated guitars, loops, and electronics. “Moody” is the operative word; and while there’s some emotional variety across these 11 tracks, Robinson seems mainly at home when viewing the world with a wistful and downbeat frame of mind. I like the background atmospherics he generates with his array of effects, but I’m less keen on the flanged and treated melodic top lines. This is probably quite far apart from what the artiste intended, as the slick and fluent “solos” do take up a fair amount of needle time. Not quite in the league of Manuel Göttsching; a shade too New Age for this listener. (05/01/2022)