It’s the start of a new year, and I want to try to get back in the habit of posting quick mentions each Sunday of my favorite listening from the week prior:
▰ Hildur Guðnadóttir already had committed some of the most remarkable film music of the year for Tár, Todd Field’s feature starring Cate Blanchett, and she’s followed it up with Women Talking (Deutsche Grammophon) Both scores veer dramatically from her often drone-based prior work (Chernobyl, Joker, Sicario: Day of the Soldado). Women Talking, in contrast, features a lot of staccato string work.
▰ If I had done a top favorites of 2022, guitarist Bill Frisell’s Four, his third album for the jazz label Blue Note, would have been on the list for sure. It teams him with Johnathan Blake on drums, Gerald Clayton on piano, and Greg Tardy on horns (saxophone, clarinet, bass clarinet). The key word is “team,” as this is a jazz album with essentially no solos; it’s all about constant interplay.
▰ Beth Chesser and Pier Giorgio Storti collaborate as Rathrobin. Their album Ear to the Ground combines strings, voice, and unidentifiable textures, including field recordings, into a sometimes aggressive but often ruminative sonic spaces. It came out almost a year ago, at the end of January 2022, but I’ve only recently started listening to it.
▰ Rplktr (aka Łukasz Langa) recorded half an hour using the Awake script, which comes as part of the Monome Norns musical instrument. It’s sparkling and lightly percussive. Just listen as the patterning unfolds.
▰ Embedding here won’t do it justice, so if you do use Instagram, check out Jorge Colombo’s (instagram.com/jorgecolombo) — specifically the short films he posts. The “NYC2” batch, for example, are black and white snippets, shot in cinematic horizontal mode — field recordings that evidence the keen eye and ear I’ve admired for decades.