by Michael
7
Released 15/09/2009
Tyondai Braxton is the son of Anthony Braxton, a highly praised (and equally shunned) experimental jazz musician whose prolific output spans the last half a century. Tyondai also fronts Battles, whose first and only full-length Mirrored has received substantial acclaim and was lauded among any press outlet afflicted with the list-making compulsion as one of the more prominent releases of 2007. So. Eccentrically named Tyondai Braxton has a lot to live up to in more than one area.
'Opening Bell' is a piano driven shout out to American '60s minimalism, with a jazzy opening piano cell reminiscent of the Esbjörn Svensson or Brad Mehldau - his father's influence at work no doubt. It's barely half a minute, however, before the trademark processed whistles of Mirrored come into play, instantly gripping the Battles umbilical cord. The track soon moves into jagged march-like rhythms, however, and impressive orchestration comes to the fore.
The ambition of this solo project is evident from the start, with diverse use of the sonic palettes of both the Western orchestral tradition (particularly film soundtrack rhetoric) and his own pop (fine... "post-rock") ventures. According to the Warp site 'Uffe's Woodshop' alone features "vocals/whistling, kazoos, violins, violas, synths, electronics, piano, 6 guitars, bass and drums/percussion" - the successful orchestration of these forces is even more impressive than the unpredictable harmonic and rhythmic use they are put to. The orchestral strings and winds are treated cinematically, with the any distinct flute or horn (or err, kazoo) lines sounding extremely familiar, in timbre if not more. At times the influence of more aggressive Stravinsky or upbeat Shostakovich is clear, although 'Unfurling' and 'Dead Strings' are more reserved affairs, bringing to mind the slower moments of Jonny Greenwood's Bodysong.
Highlights include the lovely, lazy string glissandi and surf-like guitar treatment in 'The Duck and The Butcher' (which bring to mind the impression of its title with impressive vividness) and the infectious vocal sliding gestures and menacing rhythms in 10-minute epic 'Platinum Rows'. 'J. City' is another standout track, with its pilfered Doctor Who bass line, and pop song feel. There are instances, however, where the orchestral writing comes across as pastiche. Parts of the cinematic and upbeat 'Uffe's Woodshop' could easily make Final Fantasy boss music, and some of the more playful passages throughout can be a little on the Danny Elfman or John Williams side.
This album is an interesting endeavour, and an impressive feat of orchestration by anybody's standards, although it is not to be dipped in and out of. If one listens to a track in isolation it can seem very gimmicky; listen to the album in one sitting, however, and Braxton's compositional idiosyncrasies take on a cogent character, and the album takes shape as a uniquely exciting work, taking influence from 19th-21st century orchestral repertoire and early American minimalism, not to mention popular math-rock and free jazz. Adventurous stuff.
If you enjoy this record you certainly want to look into Battles, and I would recommend Jonny Greenwood's Bodysong if you're into such eccentric pop appropriation of Western orchestral forces.
Links:
Tyondai Braxton at Warp
Tyondai Braxton at Warp
