New Music From Andrew Norman, Sault
Andrew Norman
Sustain
(Deutsche Grammophon)
This writer doesn’t envy those on symphony boards with the challenging task and eternal struggle of attracting new generations of listeners in the realm of classical music.
One would hope enjoyment and appreciation come from a persuasive stoking of curiosity, without a whiff of the “eat your vegetables” type cultural supervision or conspicuous (and possibly guilt-ridden) obligation of certain social classes.
The classical canon expands seemingly reluctantly, which is one issue—how long did it take Charles Ives, Clara Schumann, and Astor Piazzolla to gain acceptance?
Then there’s the fact that a chunk of programming often relies on what could be perceived as orchestral gateways such as events that are aimed specifically toward child-friendly repertoire, Hollywood movie/soundtrack tie-ins, symphonic pop/rock showcases or collaborations with pop/rock stars, and even performances featuring music from video games.
This critic doesn’t blame anyone for trying.
But stepping back from the situation, perhaps one facet can be explored with regards to the modern perception of classical music and from where appeal and curiosity can germinate.
This idea comes to mind when absorbing the 33-minute piece Sustain from composer Andrew Norman, who was a finalist for the Pulitzer Prize in music last year and performed with the Los Angeles Philharmonic under the direction of Gustavo Dudamel.
While certainly non-traditional, Sustain has the ability to conjure pure, yet abstract feelings and ineffable emotions without being schmaltzy or saccharin; it feels novel, sure, but free from the notion of cheap spectacle, being its own sublime thing.
Comparisons to flowing water are seemingly inevitable, with cascades and waves of strings, sometimes slightly reminiscent of the overlapping phases of Steve Reich’s work; motifs build and eventually churn, transforming into roaring swirls that could be the sound of galaxies expanding.
The composer has explained that Sustain is a “contracting spiral”, using a repeated section that gets exponentially faster, as if sucking listeners into a black hole, for tense climaxes. At times, it sounds like the orchestra is trying to replicate synthetic sound processing in clever ways—in particular, the “extreme sound stretch” effect and also pitch shifting.
Even listening to a recording at home can be an overwhelming thing, engulfed by foreign sounds, and Sustain is an intriguing and nourishing experience that can haunt a listener in ways not expected.
Sault
7
(Forever Living Originals)
Like a juicy secret, the mysterious band Sault is one of those groups that, upon hearing, you feel particularly compelled for multiple reasons to tell your friends about. The music itself has a groove that is easy to like, coming from a base of funk and soul and anchored by a rhythm section that is tight and economical.
The opening track “Over” from 7, Sault’s second album released in 2019 after its impressive debut 5, uses simple yet effective melodies which have led to comparisons to the post-punk dance band ESG, but there’s more at work.
The overall vibe is reminiscent of the oft-sampled Incredible Bongo Band and the contemporary Budos Band, but there are extra elements fluttering around playfully like a buzzing tune on a keyboard.
“Feel So Good” sports a sing-songy lightness among spacey synths and a spirited, perhaps mischievous attitude, while the track “Smile and Go” even has some downright cute “be dee be dee” vocal interjections.
Multiple female singers show their stuff on 7, with vocals that can be silky and spry, firmly rooted in the soul-funk realm, and male backing vocals sometimes reveal hip-hop influences in delivery.
One thing that makes 7 sound so striking is the amount of care and attention that clearly went into the recording, offering somewhat peculiar choices at times.
Notably, there’s often a slight distortion added to the vocals, to provide a bit of dirt and roughness. To perhaps heighten the album’s sense of artificiality (i.e. apparent stylistic decisions), there is a complete lack of congruity regarding how each individual instrument is recorded.
For example, a track may feature stark, dry vocals with percussion that reverberate richly, offering a disconnect.
At the beginning of “Waterfalls”, a bass riff is sampled and repeated, although it could’ve easily been played live, and it’s not even a cleanly edited sample.
It’s a small detail but this writer believes it’s intentional, putting this small piece in the age of sampling rather than being, say, a ‘70s funk purist.
Finally, it’s obligatory to mention that Sault has yet to reveal the names of its members, thus liberating it from any personal baggage associated with individuals. This critic is reminded of the actor Peter Sellers, who insisted that he was a character actor with “no personality of my own whatsoever”; like with Sault, the performance is what matters and with the album 7, a rich personality is on display.