Jeremy Young, "Amaro"
This latest release from Montreal-based composer/collaboration enthusiast Jeremy Young is quite an intriguing and adventurously kaleidoscopic suite of songs, as his revolving door of guest artists brought together quite an eclectic array of divergent aesthetics. While most of Amaro's participants were previously unfamiliar to me, all feel like unerringly solid choices, as these ten pieces feel like a single coherent vision that spread its tendrils outward into pleasantly unexpected terrain that beautifully blurs quite a few lines. While Amaro is arguably an ambient/drone album at its heart (Young's main tools are oscillators, tape loops, amplified surfaces, and EMF signals), it often feels like something considerably more compositionally and conceptually ambitious is happening, as there are nods to influences as diverse as Conlon Noncarrow, The Caretaker, and Scanner (as well as some thoughtful inspirations beyond music). As such, Amaro initially drew me in as an unusually good drone album, but it sneakily blindsided me several times once I gave it focused attention and sufficient volume.
The opening "Trafic" is a prime example of Young's inventively boundary-dissolving aesthetic as he is joined by filmmaker Tomonari Nishikawa (who "plays" a 16mm camera & a projector). Naturally, the expected projector sounds are present, yet they are just a small part of a concoction that sounds like a spectral haze of feedback jamming with some garden sheers, a jazz bassist, and a ping-pong game remixed by Pole. The following two pieces are also gems, as "Ballroom Loop #1" sounds like an excerpt from a killer lost William Basinski album, while "Frequenza Bianca" enlists Dolphin Midwife for a lovely harp improvisation that sounds like it takes place inside a shimmering dream mist of quivering droplets frozen in time. Elsewhere, "Electricity Over Mirabel" is another favorite, as violinist Pauline Kim Harris taps in for a gorgeously haunting string motif that is dissonantly smeared, stretched, and atomized. It too coheres into a crackling and popping Pole-style rhythm, but the nightmare happening over it is a malevolently hallucinatory delight. Nearly every single piece on Amaro hits the mark, however, so it was a real pleasure to hear the fascinating places that Young was able to steer his collaborative curveballs. For example, "Mythy" sounds like Alvin Lucier remixed Algebra Suicide's "True Romance at the Worlds Fair," while "The Duchamp Bicycle Wheel Resonator" turns an interview with Vito Ricci into a shifting fantasia of chiming and skittering metal percussion. On the more musical side, "Your Air Smells Like Cinnamon" sounds like an frenzied, out-of-control player piano being soothed with warm drones, while ‚ÄúCarta Vetrata‚Äù transforms garbled police radio transmissions into such an achingly beautiful piece that I actually started feeling like the radio was lovesick. That is arguably Young's finest act of sorcery, but it gets strong competition from the closing "Tiny Pine Cones," as Ida Toninato's wordless vocals and crackling pine cones build to a crescendo akin to simultaneously experiencing a haunted house and Disney's "It's A Small World" ride at supernaturally slow and fast speeds. Obviously, I prefer some pieces to others, but it is extremely hard to imagine anyone interested in sound art making it all the through Amaro without being dazzled by at least two songs.
Samples can be found here.