A Strange, Disquieting Album For Disquieting Times
Pianist Cory Smythe has carved out an individualistic place between the worlds of indie classical, jazz improvisation and the avant garde. The strange and often disquieting sonics of his new album Accelerate Every Voice – streaming at Bandcamp – are created by a sampler which plays quartertones triggered by his phrases on the piano keys, a creepy bell-like device that brings to mind Vijay Iyer‘s collaborations with Hafez Modirzadeh as well as Aruan Ortiz‘s work with Amir ElSaffar.
The opening track, Northern Cities Vowel Shift sets the stage, the pianist joined by a vocal quintet interweaving leaps and bounds amid the uneasy chimes. Smythe explains that the unorthodox lineup of singers he asssembled – Kyoko Kitamura, Michael Mayo, Raquel Acevedo Klein and a vocal rhythm section of Steven Hrycalak on “vocal bass” and Kari Francis on “vocal percussion” – are often meant to evoke the kind of blithe optimism a collegiate choir: “Maybe a complicated kind of optimism, a poisoned-by-whiteness American kind of optimism.”
The Andrew Hill and James Weldon Johnson inspirations for the blippy, distantly hip-hop tinged title track don’t really come through, although Smythe’s lithe ripples and runs make a sharp contrast with the vocalists’ poltergeist flickers.
Track three, Marl Every Voice rises and falls with a distant, chilly menace and an occasional hint of gospel. There are two Kinetic Whirlwind Sculptures here, the first keening and oscillating with washes from inside the piano and what sounds like electronically enabled throat-singing. The second is much simpler and loopier; it sounds like a bunch of monks lowered a carillon to the bottom of a well.
Vehemently has a jaunty, bouncy lattice of vocals and spare piano accents, but also a persistent, unsettled ambience. The miniature Knot Every Voice comes across as a cuisinarted vocal warmup exercise. There’s a more devious, Meredith Monk-like comedic sensibility to Weatherproof Song (a snide reference to the famous Yale ditty, with its pompous lyrics by the king of jungle imperialism, Rudyard Kipling)
The album winds up with the epic Piano and Ocean Waves for Deep Relaxation, written as a follow-up to Annea Lockwood’s global warming-era parable Southern Exposure, where a piano goes out with the rising tide. It works equally well as subtle spoof of new age nature soundscapes, Satoko Fujii-esque extended-technique tone poem and ghostly Brian Eno-style tableau.