At even more of a disadvantage with Schubert than I was with Debussy, but I don't think it really matters. The point is what is happening now, and already from stark atmospherics to beautiful piano. Tenor sax and guitar, but it is well-balanced and spacious enough to not be overbearing. I am a bit of a wanderer, since running away from home at fourteen. Marriage and children have settled me down somewhat, otherwise I wouldn't be here now. And, yes it is still a bit of a trudge at times but I am thankful for what I've got. However, once a nomad always a nomad, only now I travel virtually. Let's face it there's plenty of places to be in cyberspace, too many maybe. Quite a soulful piece of creativity, and it captures something of the essence of being on the move constantly and it's not just down to the crunching snowscape.
Doppelgänger is a curious place to be, confronted with your soul twin. Magnificent piano work, and I like the way it takes centre stage. It's quite bright and optimistic to start, but then the tone changes. Like a slow realisation of what you are faced with. I am confined to the house for a lot of the time for various reasons, and don't get much chance for reflectivity beyond what I experience via my cybergate. Here I feel I have encountered those of my ilk, people with whom I can connect. Some of them appreciate it, some do not. After my last jaunt at university, working on information technology, I discovered that like any addiction, the virtual world is just a magnification of what the real world has to offer. Lena's keywork outstrips all other elements in the track, but that is a necessity due to the subject matter I think. It gets to the point, which is my point. And yes, I am being self-referential, I was at university, much to their annoyance.
Water plays a large part in Doc and Lena's works, and storm sounds have been brewing in my mind over the last few days. Again, the piano comes to the fore and so it should. In fact, I would dare to say that the atmospherics detract somewhat from her powerful and spirited manipulation of this most excellent of instruments. I feel happier when there are the keys and some neoclassical sounds. I don't care much for the saxophone sounds, or the jazz effects much to be painfully honest.
Impromptu, starts nicely and I am suitably impressed and satisfied with this. The fluted noise actually works in well, a complimentary fusion. A little scatter of harpsichord? Truly beautiful. If this is truly improptu, then there is magic in those fingers. The nature sounds and other samples, some of them a little curiously obscure are OK, though I don't feel really necessary. The track at its core stands up perfectly well on its own and is the best so far (I'm writing on the fly, as per usual. If I take time to reflect too much I will only confuse myself, and it makes what I create more intuitive and from the heart.), but there is more to come. Although, this is the best track so far. Could have maybe added some choral work, instead of the rather random sound bytes.
I spent a lot of time in my formative years (aged seven to ten) listening to Chopin and Verdi. This track Naughty Waltz takes me back to a childhood of beauty, it has the buoyancy that Chopin was more than capable of and, not knowing much of Schubert, captures an essence of some of his (Chopin's) lighter work. His happier moments in composition, but also the profundity capable with the instrument at hand. Again, some seemingly strange word bytes are thrown in, though they don't detract. The percussion actually works well in the end as the tempo alters, and the dramaturgy increases, though I could do without the voice. Naughty is not always nice. Spoils it a bit.
An Die Romanze, is magical, and here is the 'choral' effect put to good use, blends together wonderfully. This is a fantastic piece of neoclassical work. Poetry in motion indeed, almost brings tears to my eyes. Perfectly constructed. As it progresses the atmosphere begins to accumulate and to my joy, accentuate the central theme, with a profound passion. This is what I have been waiting to occur and for me proves my point. I could do with a whole album in this style, without the fripparies of additions, that work against, not even as counterpoint. Poignantly dramatic towards the end. Amazing musical creativity.
The final track we are presented with what sounds like an accordian in a busy train station. A busker almost. Then the track begins to develop into a billowing soundscape of noise with a hint of melody. Choral effects come into play and work well, and slowly but surely that gorgeous piano reappears and becomes the focal point around which everything else is based. I think this was even attested to in the preamble of the original recommendation by Doc himself. Even the bass noise works better here, is that tenor sax again? Either way it is offset by scintillating layers of synthetic sounds. As they deepen it actually seems to lose some of its power, which strikes me as odd.
Overall, I could have just listened to the piano improvisation and would have gladly given that a full ten, but I will be honest (and I do not see any point in being otherwise) and say that some of the additions to the piano work, actually detracted somewhat from the central passion and spirit of this album. Very enjoyable, all in all though. Minor niggles, and I have a very critical head on today.
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