On his previous album for 12k, Twenty Ten, Kenneth Kirschner compiled three full discs of material. On Compressions & Rarefactions, he ups that even more by including a download with the CD of three additional pieces, totaling over five and a half hours. It is a lot to take in, especially given Kirschner's understated approach to composition, but the result is more than satisfying.
Time, in its various definitions, is an integral part of Kirschner’s art and sense of composition.His works are only titled by the date on which they were composed, and their lengthy durations and repeating motifs indicate both the passage of, and the static nature of time.The artwork on this album continues the theme as well, capturing subatomic decay patterns and imagery of the Gum Nebula.
The first of the two pieces on the CD, itself titled Compressions is "September 13, 2012" is a half hour of glistening bells and ringing tones.Kirschner constructs strong melodies from simple, twinkling piano and subtle processing.Even though the melodies repeat, there is a feeling of movement throughout the piece, transitioning into notes of a higher register before returning back to the thicker, rich sounds from which it began.
The second composition, "April 16, 2013" is propelled by a twinkling, music box like series of melodies.Even though there is once again the use of repetition, there still seems to be a fast pace, with the passage of time clicking away faster than it would seem.He keeps the melodic structure rather consistent throughout the 24 minutes, but plays with the tone, sometimes making more soft and delicate, and at other times harder and almost percussive.
On the digital portion of the album, Rarefactions, the extra durations are used sometimes to increase the sense of movement, but at others to sound frozen and locked into place."July 17, 2010" has a more textural sound, as opposed to the melodic style that was prevalent on the CD.What sounds like the same sequence of notes is used to create an echo chamber of wooden percussion, a sharp, glassy passage of noise, and into what sounds like an impenetrable wall of alarm bells.
Kirschner reintroduces melody with "January 10, 2012," at first driving plucked strings that at times drift into shrill, sharp territory.There is clear similarities to the sound of "September 13, 2012," but further deconstructed.It becomes a study of tones, sometimes kept short as a conventional musical note, at other times stretched out to dramatic, infinite drones.On the two hours of "October 13, 2012" he punctuates the pure, clean sweeping sounds with passages of near silence.The tonal swells become varied, dissonant, and more powerful as the silence between them becomes longer.The use of repetition is heavy, but suits the piece perfectly.
Compressions & Rarefactions is another strong entry in Kenneth Kirschner's expanding, yet subtle discography.It is a disorienting release, due to his penchant for using lengthy durations and repetition, but with the subtle use of repetition and change.At times I looked away, then the next time I looked at the clock it was already ten minutes later, and other times the minutes seemed like hours.That psychological effect is a compelling part of this release, but its beautiful melodies and sense of composition stand strongly on their own as well.
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