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Tag: jenn wasner

A Lavish, Ambitiously Orchestrated Twinbill at Symphony Space Last Night

“How many of you have been to a classical concert before?” Wye Oak’s Jenn Wasner asked the packed house at Symphony Space last night. From the response, it didn’t appear that many had. Which makes sense if you consider that the average age at the big Manhattan classical halls is 65. But what Wasner’s band were playing, bolstered by the Metropolis Ensemble and the Brooklyn Youth Chorus, wasn’t the kind of classical you’d typically hear at those venues. It was a brand new kind of music: epic post-minimalist sweep matched to rock edge and attack.

Wasner spoke of being humbled in the presence of eighty other musicians of such a high caliber, but she has fearsome chops herself. She began the show on bass and proved herself more than competent, then moved to guitar and gave a clinic in shiny, emphatic, shimmery phrasing. Drummer Andy Stack pushed this mighty beast with a supple drive, shifting constantly between tricky meters. At one point, Wasner suddenly realized that her bass had gone out of tune, then didn’t miss a beat or a note, hitting her tuner pedal and then fixing everything even as the tempo and syncopation changed in a split second behind her. Tuning while playing is a rare art; it’s a whole other thing to tune and sing at the same time!

Throughout the show, whether singing her own material or William Brittelle’s restless new song cycle Spiritual America, there was considerable contrast between Wasner’s cool, concise, understated vocals and the orchestra’s leaps and bubbles. Guitarist Ben Cassorla added flaring cadenzas and carefully modulated sheets of sustain. frequently playing with an ebow. When Wasner was on bass, Metropolis Ensemble bassist Evan Runyon frequently teamed with her for a pulse that wasn’t thunderous, but close to it. Keyboardist Erika Dohi added warpy, new wave-flavored synth, wafting synthesized strings and on a couple of occasions during Brittelle’s suite, wryly blippy, EDM-tinged flutters.

In a context as orchestrated as this was, Wasner’s songs came across as very similar to Brittelle’s, Both songwriters’ lyrics are pensive, direct and don’t follow either a metric or rhyme scheme. Likewise, they both gravitate to simple, frequently circling phrases that went spiraling or bounding from one section of the ensemble to the next. Brittelle’s big crescendos tended to be more flamboyant, and more evocative of 70s art-rock like Genesis or Gentle Giant, with the occasional reference to coldly bacchanalian dancefloor electronics. Wasner’s tended to be more enigmitically reflective if no less kinetic, and more influenced by 80s new wave pop. Are both fans of Carl Nielsen’s playfully leapfrogging symphonic arrangements? It would seem so. 

The night’s coda, Wasner’s cynical I Know the Law, was a study in the utility of self-deception as well as its pitfalls. As with the rest of the material in the night’s second set, the chorus punctuated the music’s many splashes of color with steady, emphatic, massed polyrhythms and occasional moody ambience. Wasner joked that one of Brittelle’s more nostalgic numbers would be something that these kids would understand in about ten years, which could prove true. What they will remember is being on this stage with a hundred other musicians, and getting a huge standing ovation from an audience of their peers.

Metropolis Ensemble don’t have any upcoming New York concerts for awhile, but their violinist – and Mivos Quartet co-founder – Olivia DePrato is playing the album release show for her auspicious solo debut album, Streya, at 1 Rivington Street on March 13 at 7:30 PM. Tix are $20/$15 stud.

Artsy Afrobeat-Inflected Tunesmithing and a City Winery Show from Jenn Wasner

Jenn Wasner is an anomaly in the indie rock world: a fluent, imaginative guitarist who uses just about every sound available to her and writes smart, pensive, lyrical songs. She’s bringing her band Wye Oak to a rare Manhattan gig tomorrow night, Oct 6 at City Winery. If you can get to Manhattan, you can also get home afterward since the show is early – 8 PM – and you won’t have to worry about the train leaving you at some random outpost in the remote fringes of Bushwick. And you can get in for twenty bucks at the door.

Wasner also has an intriguing side project, Flock of Dimes, whose debut album is streaming at Bandcamp. The songs blend icy, crisply produced ABC-style 80s art-pop with a stainless-topped, airconditioned 90s lounge feel over Afrobeat-inflected rhythms. Wasner likes dancing vocal melodies and tricky tempos which percolate throughout pretty much every song here.

Wasner’s lingering guitar resonates over a soukous-ish triplet beat on the opening track, Birthplace; “My love is not an object,” she asserts, then dancing, synthesized strings kick in. The Joke is a powerpop gem as the Talking Heads might have played it, with blippy synth and surrealistically echoing faux-Leslie speaker guitars: the steel solo that the song fades out on is anunexpected treat and over too soon.

Everything Is Happening Today pairs atmospheric verse against kinetic, metrically tricky chorus.  Likewise, Semaphore shifts from uneasy resonance to subtly crescendoing dancefloor-beat angst on the chorus, “Too far gone for a sempahore.”

The danciest and techiest track is Ida Glow. which could be Missing Persons or Garbage without the sexpot pose. Wasner goes back toward Remain in Light-era Talking Heads with Flight, an allusive, lushly textured account of betrayal.

With its watery layers of chorus-box guitar and similarly disembodied vocals, Apparition could be late-period Siouxsie without the microtones…and then it goes in the direction of the Fixx or Tears for Fears. Spiraling, Spanish-tinged guitars punctuate the gorgeous Given/Electric Life, which could be Linda Draper with slicker production: “I’m not in the ways of counting days, distract myself,” Wasner insists.

“We seem to be awake, but we are dreaming,” shse intones enigmatically at the end of Minor Justice, a return to icy, blippy Afrobeat-pop. “I couldn’t free you, I couldn’t free myself,” she laments in You, the Vatican – #bestsongtitleever, huh? The album ends with,…To Have No Answer, which sounds like Bjork at her trippiest and most atmospheric. Throughout the album, Wasner plays all the guitars and keys as well: she obviously put a lot of time and effort into this. It’s like an artichoke, one layer after another to unfold. If the album had come out thirty years ago, every graying Gen-Xer would still have the cd somewhere – and that’s a compliment.

Elegant, Serpentine Chamber Pop with the String Orchestra of Brooklyn

It’s hard to imagine that the String Orchestra of Brooklyn is ten years old this year. From the looks of some of the group’s members this past evening at le Poisson Rouge, if they’d been around since day one, they would have been in grade school then. This time out, the irrepressible ensemble backed a series of soloists straddling the worlds of indie classical and rock in a program that was more verdantly fresh and vivid than it was awash in the kind of lushly enveloping, dreamy sonics that strings orchestras are typically known for. A celebration of singles rather than an album of them, the program bookended often unpredictably knotty material around violinist Michi Wiancko‘s warmly minimal, poignant canon of a centerpiece, That Knock Is For Me (her first composition, she said), her cellist brother Paul adding a stark precision as he played standing up, as one would a kamancheh or erhu fiddle.

The New York premiere of William Brittelle‘s labyrinthine, surprise-packed, intricately dynamic mini-suite Canyons Curved Burgundy, was sung with moody resonance by Wye Oak guitarist Jenn Wasner, a frequent Brittelle collaborator. At the end, she went to her knees to elegantly tremolo-pick upper-register chords that were more raindroplets than dreampop washes. Her fellow guitarist Aaron Roche sang falsetto, off mic most of the time, so his harmonies often weren’t very present in the mix. Of his works on the bill, the most memorable was the slowly swaying, pensively 70s Britfolk-tinged Wooden Knife.

Wasner’s Everything Is Happening Today – scheduled for release on Flock of Dimes‘ debut album, due out next month – followed a more vigorous series of tangents, similar to Brittelle’s first piece. The group closed with his new single, Dream Has No Sacrifice, its central mantra within what by now had become an expectedly shapeshifting string arrangement replete with peek-a-boo voicings. Brittelle’s music in general is very translucent, so hearing him explain that the trials of fatherhood had sent him into a tailspin of jumping through some unnecessarily complicated hoops was quite a surprise. This, obviously, was a return to form, and despite its outward simplicity – “My Brightest Diamond on valium,” one wag observed – hardly easy to play.

A quiet, determined triumph for the soloists, who also included Robert Fleitz on electric piano and keyboards and Owen Weaver on syndrums – and the orchestra, whose members this time out also comprised violinists Gina Dyches, Quyen Le, Eric Shieh, Allison Dubinski, Shawn Barnett and Matthew Lau; violists Emily Bookwalter, Joseph Dermody and Brian Thompson; cellists Ken Hashimoto and Aya Terki; and bassists Luiz Bacchi, Valerie Whitney and Morton Cahn

The String Orchestra of Brooklyn’s next performance is at Bargemusic on Sept. 11 at 4 PM as part of a memorial concert, where they’ll be playing Barber’s Adagio for Strings. The concert is free, but early arrival is a must.