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David Sylvian
Manafon
Sound CD ss016

On its surface, Manafon may be David Sylvian at his most subdued to date. But the meditative aura evoked by frequent rests and spare accompaniment does nothing to blunt the potency of his music-making. Indeed, ‘Small Metal Gods’ strophic repetitions are seductive, a hushed exhortation that draws the listener in. But by no means will they be treated to a bump-free ride. As Sylvian intones in the next song, ‘The Rabbit Skinner,’ there’s “no easy resting place;” this amid subtle touches of free jazz saxophone and angular keyboard interjections (all played piano).

Things continue similarly for much for the CD’s length. Sylvian’s voice is the primary instrument, and it is abetted by a background accompaniment that often takes on an ominous cast. Given many recordings’ penchant for filling the sound space and limiting the dynamic spectrum, Sylvian’s willingness to keep things spare is a courageous move. It’s also an affecting one for those who enter Manaphon’s mysterious sound world with attentive ears.

Video: Small Gods (YouTube)

In it’s day, David Bowie’s “Let’s Dance” was a contemporary-sounding, trendy uptempo hit single.

But some of the best covers completely remake a song from a different vantage point.

LA artist Holmes has given “Let’s Dance” a decidedly downtempo cast, recasting it as a piano ballad laden with string accompaniment.

MP3: Let’s Dance

One doesn’t often think of a big sneaker manufacturing concern as a place to look for indie cred, but Converse is celebrating Merge Records’ 20th Anniversary with webcasts of their celebratory show on the company’s site. Check out their media player for Merge stalwarts Superchunk’s new song, “Crossed Wires.”

Superchunk

Live DVD

Midwestern collective Umphrey’s McGee has the reputation for being a jam band. But on their new Live DVD, one quickly notes that it is challenging to pin them down in this genre without expanding its boundaries. To be sure, there are elements of their music-making that give nods to both Phish and the Dave Matthews Band: vocal mannerisms, long form solos, and a penchant for highlighting each member of the outfit in succession. A few places evince jazz inflections – polyrhythmic postbop drum patterns and sinuous chord progressions.

Umphrey’s also adopts facets of neoprog, occasionally delving into complex song structures and indulging in particularly arcane lyrics. Added to the mix is a clean cut, Midwestern gentility that makes them – and much of their audience on Live – seem entirely different from the vibe at, say, a Grateful Dead show.

True, there are stretches where one feels the solos are a bit indulgent and overlong, but that comes with the territory. (For pithier statements, one might try their latest studio effort, Mantis.) Overall, Live gives one a nice taste of Umphrey’s singular brand of postmillennial jamming.

White's S/T LP

White

S/T

Open Note

Beijing duo White – keyboardist/percussionist Shenggy and keyboardist/guitarist/vocalist Shou Wang – create stirring post-rock experiments on their self-titled debut recording. Indeed, the duo has been championed by no less than Blixa Bargeld, best known for his work with Einstürzende Neubauten, who produced the recording.

One can hear why Bargeld is enamored with White. In places, their use of synthesized drones, spoken word chanting, and bristly percussive interjections recalls Einstürzende Neubauten. The influence is particularly palpable on the muscularly scored “Build a Link” and “Space Decay.” But there’s a spaciousness and penchant for gradually unraveling formal designs that sets White apart from mere mimicry.

On “Conch Crunch,” their soundscaping moves into a haunting, ethereal ambience. On the other hand, “Roswitha Strunk” is fueled by distorted guitars and avant-rock gestures. On “Bai” and “Spring House,” the drones are tinged with a more Eastern sensibility, replete with bell-like timbres, plucked strings, and Shenggy’s supple vocals. One wishes that a translation of the texts employed were provided, but White’s music-making communicates eloquently by itself. Recommended.