Until the lockdown, violinist Michi Wiancko enjoyed a busy career in the New York new music scene. Like many arists have done in the last few months, she’s releasing a solo album, Planetary Candidate – streaming at Bandcamp – an eclectic collection of both organic and electroacoustic works by several of her favorite contemporary composers, along with one of her own. The sounds here are adventurous and often psychedelic, but not harsh or assaultive.
The album’s title track, by the artist herself, is a deceptively catchy, increasingly dense jungle of insistent, minimalist pizzicato chords bookending a still, sustained interlude. Wiancko’s vocals are multitracked as well. The theme is breathing, which could be a loaded metaphor: hard to do that with a muzzle over your face!
Wiancko’s similarly insistent eight-note phrases dirift further and further into dissonace as Christopher Adler’s Jolie Sphinx moves along, a trope that repeats in more pensive, subtly baroque-influenced cadences a little later on in Mark Dancigers‘ Skyline. Paula Matthusen’s Songs of Fuel and Insomnia has dissociatively drifting overlays, trippy electronic textures that extend into stygian depths, and some unexpectedly shreddy metal.
Wiancko shifts from briskly leaping arpeggios to hazy, steady close harmonies and then halfway back in Jessie Montgomery’s Rhapsody No. 2. Bizarrely processed echo effects pervade William Brittelle‘s alternately ambient and acerbic So Long Art Decade – a reference to the Bowie song?
A waterside tableau complete with found sounds, Matthusen’s Lullaby for Dead Horse Bay manages to be both the album’s most atmospheric and captivating piece. Wiancko winds up the record with a second Brittelle composition, Disintegration, a swooping, imaginatively overdubbed, increasingly kinetic series of echoey exchanges with coy, distant echoes of 80s new wave music.