Violist Anna Heflin calls her debut album The Redundancy of the Angelic “an interluding play.” Blending surrealistic, sometimes cut-and-pasted spoken word in between austere string themes, the record – which isn’t online yet – is alternately very serious and ridiculously amusing. Heflin is an acute observer and an imaginative composer; the push-pull of the album’s central dynamic ramps up the surreal factor. The album’s unifying and very best joke doesn’t reveal itself until the end, and it’s way too good to give away.
Tensely enunciating, Heflin opens the album with a disjointed poetic tableau, a beauty parlor recast as the center of a strangely benign universe. Then the music begins. A slowly sirening riff gives way to a close-harmonied string trio – Heflin with violinists Shannon Reilly and Emily Holden. Their alternately puckish, rhythmic and soberly spacious phrases and variations descend to a a hazy, hypnotic interlude, which they end up bringing full circle.
The second spoken word piece, Fell This Blonde, is devastatingly funny: let’s say it turns an ugly American beauty myth upside down. The strings return in As Above, So Below, first with an austere, stairstepping theme, then sandpapery harmonics and a hair-raising coda.
Heflin allusively ponders apocalyptic portents and escape therefrom in We Made It Out: ultimately, she’s optimistic. In Heflin’s closing pastiche poem, the joke is on the listener as she ties up all the loose ends, Hitchcock style: again, no spoilers.