with throbbing eyes
with throbbing eyes is an album of music composed by Nicholas Deyoe, heard in three different performance contexts: string quartet, percussion ensemble and voice accompanied by piano. According to the Populist Records website: “Nicholas Deyoe’s debut album with throbbing eyes is a collection of chamber works composed between 2009 and 2011, each exploring the dominant themes in his recent music: noise, delicacy, drama, fantasy, and brutality.” This CD was released in early 2012 but is worth looking up if you were not aware of its release.
The album opens with Images from a sleepless night performed by the Formalist Quartet. This piece is variously haunting, discordant and unnerving with high spiky pitches from the violin to start and long, slow tones in the lower strings. The sense of restlessness in the beginning of this track will be familiar to all who have experienced night time tossing and turning, waiting for sleep to come. The lines wander and search about, never quite settling in; it is 3 AM and your mind is still running in circles
The second half of the piece, however, is much slower and almost lethargic – exactly like those mornings when you try to waken from a short, deep slumber after a mostly sleepless night. The low, creaky cello line and high, seemingly vaporous violin tones combine to perfectly evoke that morning-after feeling. The playing of the Formalist Quartet is precise, highly crafted and equal to the images portrayed here. Both sections of this piece together are just 3:45, but perfectly capture the title.
The second track – again performed by the Formalist Quartet – is for every day is another view of the tentative past. This is a 32 minute piece, divided into several sections separated by short silences. The opening is tense and uncertain, filled with bits of dissonance and long questioning tones. The feeling here is bleak and lonely, often sharply punctuated with single pizzicato notes. At other times the feeling is aggressive in the lower registers or repetitive in the viola and violin. At 6:40 the sound becomes more animated and strident, then slows again, and finishing with a loud, tense chord. At 8:40 we hear more energetic interplay among the strings with the texture becoming more dense and pressing. Furious violin passages ensue ending in a sustained high pitch that is nicely played at pianissimo and very effective against a rough, dark drone sounding in the cello.
At 16:08 another series of strong flourishes are heard that congeal into several short, rough chords – there is a feeling of anger now. At 18:40 the tempo slows noticeably, as if the anger in the previous section has spent itself. Slow, quiet sounds are heard, again against the high, sustained violin tone and soon the feeling becomes more reconciled and restful. By 23:00 the pace becomes yet slower and the soft chords now seem tired – the feeling here is one of weariness.
At 25:30 the strings gather themselves, rallying with a bit more energy. The high pianissimo violin remains, a thread connecting the various sequences. The piece ambles along again, now resting, now questioning, but this is soon replaced with slower, mysterious sounds rising up from the lower strings. The piece becomes gradually softer and more distant, drifting quietly out of sight at the finish.
for every day is another view of the tentative past is challenging listening by any standard, but this music is like a carefully woven tapestry that gives up its secrets with closer inspection. The controlled and disciplined playing of the Formalist Quartet is critical to the success of this, but attentive listening to this work more than repays the effort. I can’t remember a piece that revealed more on the second or third hearing. For all its complexity and intricacy, this will be a very satisfying listening experience for those who are willing to make the effort.
The third track is wir aber sind schon anders, a percussion piece performed by Red Fish Blue Fish. The translation of the title is “we are, however, different” and this begins with a quiet repeating phrase using a floor tom and vibraphone. Solemn and deliberate, like a procession in the darkness, it changes slightly but continuously as it proceeds along. This track is also separated into sections by short silences. Various percussion pieces enter and exit including bass drum, tympani, bongos and Thai gongs – but always in good balance. The vibraphone and glockenspiel give this piece a sense of luminous mystery while the drums punctuate the phrases or provide a steady rolling accompaniment.
wir aber sind schon anders is subtle and nuanced – even when the bass drum or congas are sharply struck. The range of contrast and variety of texture are a pleasure to hear – it draws the listener in and is like looking at a medieval wood carving with wonderfully intricate detail. The playing is excellent and precisely follows the changing contours of this piece – a fine example of how much variety can be conjured from carefully scored percussion.
The last group of pieces on this CD are collectively titled 5 McCallum Songs and these are a series of love songs for soprano and piano performed by Stephanie Aston and Brendan Nguyen. The text of the first of these, Love Poem I, provides the album title: “I want you to look at me with throbbing eyes, I want you to watch me through you.”
This is spare music, with solitary piano chords tolling like clock tower chimes and some really lovely singing that seems to float airily above. The words of the text are plainly heard, intimately sung and well-matched to the music. The feelings conveyed by these pieces are variously anxious, wistful, plaintive, frustrating, yearning, angry – all of the emotions that are part of the subject. The accompaniment by Brendan Nguyen is nicely understated in a way that gives the singing by Ms. Aston plenty of expressive room. 5 McCallum Songs are the most direct and accessible pieces on this album and are all highly listenable.
This is a CD that will challenge the listener but whose carefully embroidered details and intricate constructions make the effort very worthwhile. with throbbing eyes is available from the Populist Records website.
The Formalist Quartet is:
Andrew Tholl, Andrew McIntosh, Mark Menzies, Ashley Walters.
Red Fish Blue Fish is:
Ross Karre, Brian Archinal, Bonnie Whiting-Smith, Dustin Donahue