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Powerplant
Steve
REICH (b.1936)
Electric Counterpoint (1987) [14:46] Kraftwerk (Ralf
Hutter (b.1946), Florian Schneider (b.1947), Karl Bartos
(b.1952))
Tour de France [5:25]
Radioactivity [5:57]
Pocket Calculator [6:44] Joby BURGESS (b.1976)/Matthew
FAIRCLOUGH (b.1970)
Carbon Copy [5:14] Javier ALVAREZ (b.1956)
Temazcal [8:05] Matthew FAIRCLOUGH
Audiotectonics III [3:47] Video MP4 format:Temazcal [8:09]
Powerplant:
Joby Burgess (percussion); Matthew Fairclough (sound
design); Kathy Hinde (visual artist); The Elysian
Quartet
rec. Ark Studios, The Dairy, University of Liverpool
and McCasso Music on various dates between January 2007
and August 2008, except Temazcal, January 2003. SIGNUM
RECORDS SIGCD143 [49:55]
Powerplant are described as ‘percussion-led’ on
the back of this CD, but on the evidence of this disc the
impression
given seems more synth-led with a bit on string quartet
on the side. Previous to receiving this release for review,
I’d taken a look at a few Powerplant videos online, and
their stage presence is enhanced with video backdrops
and other effects, some of the atmosphere of which can
be seen on an MP4 video file on this CD which visually
enhances the piece Temazcal. The imagery on the
video is quite an effective representation of the music,
with the injection of ink clouds underlining certain
percussion effects, flowing, bubbling water and light
adding extra dynamism to a piece which is already filled
with fascinating nuances of sound.
Steve Reich’s Electric Counterpoint was written for
the bouncy guitar sound of Pat Metheny, and while I have
come across the piece in a number of other guises, it
is his 1987 Nonesuch recording which is pretty much the
definitive thing. I have nothing against re-arrangements
of this kind of piece and I’m sure it goes down a storm
at live gigs, but to my ears the electronics used by
Powerplant lose too much of the life and colour of real
guitar strings. I’m actually quite glad the lads don’t
try and make the electronics sound like anything other
than what they are, and there are some moments where
the music could be straight from a Kraftwerk track, which
I suppose shines something of a new light on Reich’s
minimalism of that period. 3 minutes into the first movement,
and you only need a chuffing train effect or similar
industrial emphasis to parody the band whose music is
treated in the following three numbers. The mellifluous
central movement becomes rather headache-inducing and
treble-heavy in this version, and the final movement,
which should have enough funk to make you want to bop
on the living room carpet, becomes a rather dour march
to which I could only imagine Daleks might fancy doing
a few turns. It’s OK, but doesn’t really turn me on in
the same way the original did – either that or I’ve just
become a cynical old nerd.
Kraftwerk has been around since the 1970s, and no doubt most
readers of these pages have a secret stash of their albums
tucked away somewhere. No? Well, their kind of electronic,
minimalist pop suits Powerplant’s approach very well
indeed, and the arrangements of the three numbers here
work decently enough, even if you know the originals.
I was never that enamoured of the Tour de France title
track, preferring the more gritty, ‘beats per minute’ physicality
of some of the other numbers on the album, but Powerplant
have a decent run at it, making it even more of a frothy
pop number than you would expect. There are a few aspects
of these settings which sit less easily to my mind however,
and it mostly boils down to the placement of live instruments
against drum computers and heavy electronics. Since the
Kronos and Balanescu quartets this medium has taken on
a life of its own and good luck to them, but any string
quartet almost invariably sounds horribly twee and ineffectual
in this kind of context: a bit like a Snoop Dog rap being
read aloud by Bonnie Langford. Only the sections where
the sound is more heavily filtered and treated does it
sound as if the strings are competing sympathetically
with the electronics. The same goes for glockenspiels
and vibraphones or whatever else Powerplant is using – these
instruments just sound a bit ‘girly’ against all that
chugging synth. Again, I’m sure this comes across highly
effectively live and appropriately amplified, but my
suggestion would be to integrate these sounds more somehow,
rather than leaving them pure and unsullied like a fresh
strawberry on top of a pepperoni pizza.
Carbon Copy is
an intriguing track which uses an African berimbau, one
of those bent sticks with one metal string and a resonating
globe at the base. This adds interesting resonance to
quite a funky track, but again, the subtlety of an authentic
instrument is lost somewhat. It comes into its own through
sampling and processing of the sound, which adds depth
to the whole thing, but ultimately I felt this didn’t
go far enough – you can be truly groovy with a good deal
less drum-kit, and in the end the whole thing turns out
more like a demo sketch than a completed piece.
Javier Alvarez is a respected Mexican composer and percussionist,
and his Temazcal introduces a different sound
world. Fizzing maracas create a field of noise, over
which electronic noises create their own layers of ostinato
and interruption. The title means ‘burning water’, which
I’m told can be interpreted as its purifying effect – as
in a sauna. The creative synergy between the excellent
percussionists which make up Powerplant and the serious
input of a decent composer shows more of the direction
in which Powerplant are at their best. No doubt Kraftwerk
sells more tickets than Alvarez, but for me this is the
best track on the album.
The final audio number is Audiotectonics III by the
sound design half of this group, Matthew Fairclough.
Written for an instrument called the xylosynth, a cross
between a xylophone and a synthesizer, the samples include
a wide variety of African, European and South American
instruments. It’s hard to escape the feeling of someone
playing with a new high-tech toy and the piece doesn’t
really ‘do’ very much other than demonstrate the instrument,
but it is interesting to hear and spectacular in its
own way – certainly enough to shake the dust from your
woofers.
If the Steve Reich piece is your prime motivation for seeking
out this disc then I wouldn’t recommend
it above, or even as a supplement to the Pat Metheny
original, though I admit there are few if any alternatives
available at the moment. Since Bill Bailey’s ‘Kraftwerk
Tribute’ I have unfortunately found it quite hard to
take Kraftwerk arrangements too seriously, but the tracks
on this CD are good fun and quite effectively Krafted.
The fairly short playing time and rather mixed programming
of this disc make it somewhat hard to recommend, either
to classical or pop fans – it falls somewhere in between,
and I can see it being neither fish nor flesh to both.
If you want to know where contemporary percussion is
currently at however, with all its stylistic fusions
and multi-media effects, then this is as good a place
to start as any.
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