In a time when no one really knows where the funding will be coming from, many classical musicians have banded together in smaller more mobile ensembles instead of the standard orchestra. One of these groups is yMusic who released their debut record Beautiful Mechanical about two weeks ago. The thing that sets yMusic apart from the numerous small classical ensembles popping up here and there is no doubt in its indie cred: Though composed of a sextet of classical musicians that pairs up a string trio with flute, trumpet, and clarinet; the ensemble has collaborated with the likes of St. Vincent, Sufjan Stevens, Bon Iver, and Son Lux (who composed the album title track). In fact the album also features works written by established indie musicians Annie Clark and Shara Worden of My Brightest Diamond alongside the work of several professional composers.
Beautiful Mechanical is a delightful mix of genres both in and outside of the classical spectrum. Ryan Lott’s minimalistic lead-in “Beautiful Mechanical” wouldn’t be out of place in his own music with the clarinet runs/trumpet calls sounding particularly similar to parts of “We Are Rising” but the ensemble’s command of the cascading rhythmic figures and intense energy makes you forget that Lott could be singing over all this or cutting it up to make it a bit more glitchy. The track’s forward momentum makes the seven minute track seem much shorter.
While not as telltalingly characteristic as Lott’s, Annie Clark’s contribution “Proven Badlands” does contain a few hints of their origin namely in a certain melodic riff that recalls the breakdown in “Marrow” off of Actor until the b part begins and completely changes everything. The piece has a sort of Copland-esque Americana blended in with Clark’s savvy poppy style.
Shara Worden’s first offering “A Whistle, A Tune, A Macaroon” recalls the orientalism of Romantic era with a notable twist – instead of filtering Eastern sounds through a Western filter like Romanticists were apt to do, Worden’s pentatonic gem sounds like it could be in a scene of Memoirs of a Geisha or Crouching Tiger Hidden Dragon.
Sarah Kirkland Snider’s piece “Daughter of the Waves” marks the first piece by a trained composer and has a far more cinematic feel than its predecessors. In the course of almost 9 minutes, the piece actually feels like it goes somewhere and stays there. Featuring undulating melodies that gets passed throughout the ensemble to represent waves, there’s also lush instrumentation on top and swells of emotive action. While the other songs were good, this one is no doubt better.
Shara Worden’s second piece “A Paper, A Pen, A Note to a Friend” juxtaposes some distinctly different instrumentation with classical instrumentals and calls for several extended techniques from the performers. It’s the one moment on the album where the performers get to be and stay weird.
Judd Greenstein’s “Clearing, Dawn, Dance” might very well be the best track on the album. It builds upon Lott’s use of minimalism through employing a kind of start-stop build that leads to this grandiose soaring moment that had to be worked for. There’s also the repetitive flowing rhythmic figure that hinge together to create this incredibly complex melody and as things build bigger and bigger, warbling trumpet calls. After each build Greenstein places a contrasting part and the build has to be worked for again. Greenstein’s “Clearing, Dawn, Dance” takes almost each and every trick and compositional tool employed on the album and enhances it – show’s how it can be used better and more effectively.
Gabriel Kahane’s “Song” closes the album with a little bit of modern with harmonies that wouldn’t be out of place in Hindemith or Berg. Where it differs is with the inclusion of a soft-playing electric guitar. The trumpet solo similarly recalling Copland but with a bit of modern flair or a stripped down Shostakovich waltz.
While no doubt still a classical album, Beautiful Mechanical utilization of indie musicians enabled them to straddle genres effortlessly. Fans of the musicians will probably be curious about this and yet it plays like a very contemporary classical record – using some pop conventions without compromising itself. In that way it’s kind of like classical crossover without actually crossing over – merely borrowing what it wants to inform its own style. Beautiful Mechanical is a wonderful album by talented performers and exceptional composers that I’m sure I go back to again and again. However for those who aren’t particularly fond of classical, it’s still an interesting project where some of our favorite musicians express themselves through another medium. Definitely one to check out.