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Daniel Bachman — The Morning Star (July 27, 2018)

              Daniel Bachman — The Morning Star (July 27, 2018)Daniel Bachman — The Morning Star (July 27, 2018)••      12. celovečerní album. Samotný akt změny je přirozeným stavem. Stejně jako řád střídá úlet a vysoká a nízká koncentrace hledají rovnováhu, hudebníci, stejně jako všichni ostatní lidé, nejsou imunní vůči těmto přechodným silám. Pro hudebníka nastává čas pro změnu, pokud se jeho umění vyvíjí. Někdy má formu vědomé volby a jindy je to akt diktovaný vnějšími silami. V těchto vzácných a inspirovaných případech změny představují pro hudebníky určitý vývoj v jejich řemesle. Daniel Bachman je “The Morning Star” v jednom z těchto okamžiků. Nové album je komplexní, zdánlivě nadčasové a krásné album, které nyní všichni potřebujeme více, než kdy jindy. Téměř devatenácti~minutový otvírák Invocation mohl pocházet ze stejných sessions, které vyprodukovaly Brightleaf Blues, ale tento kus je mnohem expanzívnější a přináší zvonkohry, rozhlasové AM nahrávky a housle, které se mísí s Bachmanovou dvanáctistrunnou kytarou. Ta se zdá trochu potlačená a nechává tak harmonium Iana McColma a Marquiseeho housle vytvářet zvukový nadhled, téměř neodhadnutelný zvukový dron, zatímco perkuse dodávají kusu nesrovnatelnou kvalitu. Jedná se o ten druh zvukové cesty, která možná vyjadřuje Bachmanovy osobní obavy a úzkosti v jeho životě od posledního nahrávání, protože tam, kde bylo Brightleaf Blues (2016) klidným přehmatem, je Invocation tzv. spikier, myšlenkově hustší a náročnější.
••      Jedná se o ten druh zvukové cesty, která možná vyjadřuje Bachmanovy osobní obavy a úzkosti v jeho životě od posledního nahrávání, protože tam, kde bylo Brightleaf Blues (2016) klidným přehmatem, je Invocation tzv. spikier, myšlenkově hustší a náročnější.
••      Pro srovnání, Sycamore City je rozšířenější kytarový kus, ačkoli s jasně slyšitelným polním záznamem hromžícího hmyzu a dešťových přeháněk, které běží s kytarovými harmoniemi. A do této marmelády vplouvají zvuky projíždějících aut a v backgroundu této sekce. Oproti této výstavce zvuků je hra na kytaru mírně doplňková až drobná. Vytváří představu procházky loukou s polními cestičkami, vlající skrz naskrz dětskou volností. Efekt je tiše fascinující. Daniel se k 12~ti strunce vrátí až po dalších 55 minutách v kompozici Scrumpy. Oproto staršímu albu Orange Co. Serenade s geniální písní ‘Up and Down the C & O’ (2014), kterému Colin Joyce přisoudil, možná neprávem, relativně průměrné hodnocení 6.8, je tato LP daleko vrstevnatější. Přesto už tenkrát, 24. 7. 2014 C. Joyce chválil Bachmana, že se ‘líně proměnil ve vnějších oblastech americké hudby. Na svém nejnovějším LP pokračuje v komplexní práci; kde kdysi udělal mezi písněmi stylistické skoky, nyní to činí bez známek námahy.’ I toto album sčítá všechny malé emocionální průlomy, které Bachman prodělal za svou kariéru až doposud, ale také slouží jako připomínka, že se více zajímá spíše o akt objevování, než o samotné objevy. Současnému albu se ve stejném médiu [Pitchfork] věnuje Matt Grosinger a dává mu hodnocení 7.6. Albu vévodí otevřenost. Tato otevřenost je srdcem Ranní hvězdy a pro Bachmana nový styl nepředstavuje; jak album postupuje, učí jeho posluchače novému způsobu vnímání. Závěrečná skladba New Moon, jejíž název označuje dokončení cyklu a znovuzrození, by mohla na začátku nahrávky vypadat jako meandering a repetitivní opakování slyšeného. Ale ve svých posledních okamžicích, jakmile si upravíš uši, Bachmanova jemná gesta najednou zní velmi privátně až intimně a jsou kosmicky rozšiřující. Jako maximální rozpětí náruče.
Born: in 1989 and is a musician, artist and independent folklorist
Location: Fredericksburg, Virginia
Album release: July 27, 2018
Record Label: Three Lobed Recordings
Duration:     74:06
Tracks:
1. Invocation     18:50 
2. Sycamore City     12:53 
3. Car     5:27 
4. Song for the Setting Sun III     6:13 
5. Song for the Setting Sun IV     11:49 
6. Scrumpy     5:15 
7. New Moon     13:39
Credits:
•   Scott Caligan: Layout
•   Patrick Klem: Mixed, Mastered
•   Recorded: September 2016 — January 2018 in Petersburg, Fredericksburg, Staunton, and Southampton County, Virginia
Personnel:
•   Daniel Bachman — 6 string guitar (2, 4), 12 string guitar (1, 6), Bontempi Organ (3, 7), AM radio recordings (1, 3), field recordings (2, 6)
•   Forrest Marquisee — fiddle (1)
•   Ian McColm — harmonium, shruti box, transducer, bells, and cymbals (1)
•   Sarah Bachman — field recordings (5)
Review
••      Since living with this epic new disc from Virginia based acoustic guitarist and Weissenborn instrumentalist Daniel Bachman for quite a while, his decision to put out his second self~titled album in 2016 has become clear. Listening back to that record and lengthy tracks like the beautiful ‘Brightleaf Blues’, with Bachman’s drawn~out slide playing alongside Forrest Marquisee’s home~made octotone creating a droning meditation, The Morning Star seems like a giant leap forward into the experimental mind of an artist who has all but left behind the standard structure and sound of an American Primitive or instrumental acoustic guitar album. If Daniel Bachman hinted at the new direction Bachman was heading in, this set finds it and also disregards all genre boundaries and refuses to be categorised.
••      The eighteen minute opener ‘Invocation’ could have come from the same sessions that produced ‘Brightleaf Blues’, but this piece is far more expansive, bringing in chimes, AM radio recordings and fiddle to blend alongside Bachman’s twelve~string playing, which seems to deliberately take a back seat here and let Ian McColm’s harmonium and Marquisee’s fiddle create the drone while percussion adds extra disparate qualities. It is the sort of sonic journey that perhaps expresses the personal upheaval and anxieties in Bachman’s own life since his last recording, because where ‘Brightleaf’ was a calm rumination, ‘Invocation’ is spikier, denser and more challenging. In comparison, ‘Sycamore City’ is a more straight up guitar piece, albeit with a bright field recording of humming insects and rain showers running with it and the sounds of cars passing and honking in the background. Against this busyness, the guitar playing is gently sparse and rambling, creating a walk in a meadow with a road running through it. The effect is quietly mesmerising.
••      After the dark and swirling (and guitarless) organ, AM radio and field recording collage that is ‘Car’, ‘Song for the Setting Sun III’ again appears to be a more conventional unfussy guitar track, but Bachman seems less interested in writing conventional pieces of tune and melody these days and more focused on creating the space around the notes and letting the microphone pick up all sorts of nuances of string buzz and outdoor sound at the same time. At one point on the song, a police siren is heard faintly at first and then louder until it apparently screeches past the open window where Bachman is playing. It immediately links the piece with the previous ‘Car’ and its political speech recordings and somehow subtly refers to a modern America Bachman is now struggling to get to grips with. The picked ‘III’ leads directly into ‘Setting Sun IV’, a Weissenborn piece with an urgent pattern and uneasy slide movements. Partway through the song, Bachman seems to thread some kind of mute through some of the strings to create an even more unnerving sound, with different notes jumping out and catching the ear. It’s another trick that hints at the various turbulences that perhaps led to this recording. Because, as chaotic guitar pieces like ‘Scrumpy’ demonstrate, although not an obviously political project, Morning Star is an album with a sharp tongue and among the beauty that shines through is plenty of unrest, unease and anger. It makes for powerful and original music.
••      That said, final track ‘New Moon’, a nearly fourteen~minute patient piece bringing in cicadas and organ to work alongside Bachman’s more relaxed and less edgy slide guitar brings more light in. This is a cathartic song, a cleansing track full of space and its change in shape to much of what has come before explains its title. ‘New Moon’ really is the only song that can finish this incredible, huge journey of an album. The playing is at once spare, playful and innocent, lacking much of the edge apparent in ‘Scrumpy’ or ‘Song for the Setting Sun IV’. It is an Indian head massage of a piece to finish a set that, once it gets in there, will probably blow your mind. ••http://www.folkradio.co.uk/
Description:
••      The very act of change is a natural state. Just as order seeks disorder and high and low concentrations seek equilibrium, musicians, like all other humans, are not immune from these transitional forces. For the musician, change occurs if and as their art is to evolve. Sometimes it takes the form of a conscious choice and other times it is an act dictated by outside forces. In those rare and inspired instances, a musician’s changes represent an evolution in their craft. Daniel Bachman’s “The Morning Star” in one of these moments.
••      “The Morning Star” is the product of various change elements directing themselves at Daniel Bachman. First, the months following the recording and mixing of Bachman’s 2016 self~titled album saw him physically move from his multi~year residence in the North Carolina Triangle area back to his native Virginia. Next was the 2016 American presidential election. While not an overtly political album, “The Morning Star” is truly an artist’s personal reflection on the chaotic days and nights in America following the revelation of that election’s results. Lastly, a focused period of listening, reflection, and space to come down off of a heavy few years of touring created a few changes in Bachman’s writing style that took him a period of time to truly feel comfortable with. ••      Never one to compromise songwriting quality despite his otherwise prodigious output, Bachman’s efforts to change things up a bit result in exceptionally patient and mature works such as “Song for the Setting Sun III,” a song whose very form would have taken different directions in prior eras. All of these factors combined to leave 2017 as the first calendar year since Bachman started recording and releasing music that he did not issue a single release. While “The Morning Star” sits as the sum of these parts and represents a transformed Daniel Bachman, that very point should not surprise those who have followed his path so far.
••      “The Morning Star” begins with the side~long “Invocation” which is reminiscent of the two drone~focused variations on “Brightleaf Blues” from Bachman’s 2016 self~titled album. Its placement here is a statement of intent, a break from the exacting studio sounds of his two most recent albums. “Sycamore City” is replete with the sounds of insects, vehicles, and a summer rain storm. The recording is so effortlessly one with its own particular environment, presenting itself almost as if the listener is walking within their neighborhood and stumbles upon the sounds of a contemplative guitar player coming out of a window on a mid~summer evening. The ghostly and focused “Car” is a new sort of guitar~free work within Bachman’s oeuvre. The track opens with — and continues to feature the foundation of — an organ done that leads into a series of manipulated AM radio recordings. “Song for the Setting Sun III” and “Song for the Setting Sun IV” thematically return “The Morning Star” to two of the centerpiece tracks from 2015’s “River.” “III” starts deliberately and gains steams as it progresses to a Fahey~conversant midpoint before transitioning back to a variation on the song’s original structure. The recording is vibrant and full of location~specific details such as a creaking chair and a police siren. Fully lived in and confident, it is a track that demonstrates how far Bachman’s compositional skills have progressed from his earliest recordings. “IV” shares that same confidence, punctuating its long run with slides, a deliberate performance, and field recordings of frogs, crickets and other nocturnal fauna. Following on the heels of the buoyantly open “Scrumpy,” “The Morning Star” pulls matters to a close with the epic “New Moon.” Underpinned by an organ drone, Bachman slowly unspools a pensive and breathtaking performance of a truly gorgeous and moving composition. Tempos change and the drone eventually fades away, leaving only Bachman’s emotive guitar as the track slows to a conclusion. Those lucky enough to see Bachman perform in 2017 may recognize the composition as one that would frequently close his sets.
••      Change is natural and change is good. In the case of Daniel Bachman, gone is the player who originally played with such an irrepressible power. “The Morning Star” demonstrates that years have permitted Bachman to grow into a complicated and transfixing performer whose compositions bear a sympathetic ear with few peers. If it sounds like high praise, it should. Daniel Bachman’s “The Morning Star” is the complex, seemingly timeless, and beautiful album that we all need now more than ever.
Bandcamp: https://threelobed.bandcamp.com/album/the-morning-star
Website: http://danielbachman.com/
Facebook: https://www.facebook.com/danilbachman/
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Daniel Bachman — The Morning Star (July 27, 2018)

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