The Underground of Happiness

Simply put, this is a stunningly beautiful collection of instrumental compositions by Pieter Nooten , broadly speaking in ambient/neo-classical territory. Piano is the central instrument, carrying most of the melodies which are mournful but often intense. To my ears, there's some overlap with someone like Michael Nyman here and there, and elements of Steve Reich and minimalism generally, but really this is romantic music at its core. Music to move you, deeply, emotionally. Heart music. This album is also part of a particular conceptual project, on which there's more background here. “…Pieter Nooten’s all instrumental new double album ‘Haven’ is the third in the series of solo-releases entirely composed and mixed on the Mac Book Pro. Forced to disregard the frills of most hi-end ambient/neo-classical productions Nooten nevertheless produced one the most authentic and exemplary sounding CDs of this year. ‘Haven’ has the true mark of the contiguous quality and style ...

Another set of sublime neo-classical instrumentals from the Berlin resident, which shed new light on the full dynamic range of the piano. By close-miking the instrument from the inside, and playing the keys softly (it’s practically his signature style), Frahm exposes an unexpected set of sounds. Actually, the album almost qualifies as a field recording where the field is the inside of a piano, and the listener is surrounded by the sounds of the room fed through its natural reverb and decay, at least as much as the notes coming from the keys. The resulting arrangements feature microscopic rumbles and creaks and clicks as a kind of supporting orchestra arrived from the wings, and headphones are recommended/essential to get the full benefit. The title apparently derives from Frahm’s need to quieten the piano notes to show consideration for his neighbours during his nocturnal practice sessions. To achieve this effect, he layered thick felt in front of the piano strings. At times though ...

And so to another great gig (maybe concert is a better word, maybe not) to end a great weekend of music (go here if you haven't heard about the context for this, The Reich Effect Festival ). The Icelandic composer Johann Johannsson came to Triskel Christchurch last Sunday with the Iskra String Quartet (that's a photo - I assume from the soundcheck, seeing as the place is empty - taken from the Iskra blog ). I went along as a novice, in terms of familiarity with the man's music - but then going with a blank slate can be an interesting way to approach a performance. This venue opened last April and so has only hosted a handful of musical events to date. I'd hazard a guess that this is the first time that a combination of volcanic rumblings and brushed strings had been heard in the place. That number resolved into something like aircraft noise, a very un-concert hall type of sound. But this performance was unconventional in several ways, by concert hall standards. Th...

Antonymes - A licence to interpret dreams (Hidden Shoal) A deceptively simple set of neo-classical instrumentals (there is spoken word on one track), featuring piano, atmospherics and heart-swelling orchestral arrangements, from north Wales' Ian Hazeldine. There's a stillness and glacial beauty about these tunes which inevitably bring existential matters to mind. The maritime pull of The siren, hopelessly lost , for example. Or The Gospel Pass , with a religious bearing brought on by a solemn church organ. The single Endlessly somehow draws a rumbling chord from a series of ineffable tones. An unexpected muted trumpet fanfare opens The door towards the dream , followed by a female soprano signalling the stars. The Reichian piano structure of A light from the heavens is gradually submerged under yearning cellos. Honestly, the fact that one man/the world can produce an album this gorgeous gives hope for the future of the human race. *I must say also that ambient opener A frag...