1 800 222 6872

William Brittelle: Loving the Chambered Nautilus

> Future Shock - I. —
> Future Shock - II. —
> Future Shock - III. —
> Acid Rain on the Mirrordome - Acid Rain on the Mirrordome
> Future Shock (version for cello) - Future Shock (version for cello)
> Loon Birds in Meshed Crystal - Loon Birds in Meshed Crystal
> Loving the Chambered Nautilus - Loving the Chambered Nautilus

Album Summary

>Brittelle, William : Future Shock (version for string quartet)
>Brittelle, William : Acid Rain on the Mirrordome, for viola, cello, ensemble & electronics
>Brittelle, William : Future Shock (version for cello)
>Brittelle, William : Loon Birds in Meshed Crystal, for viola, cello, ensemble & electronics
>Brittelle, William : Loving the Chambered Nautilus, for ensemble
Performers Ensemble Composer

Notes & Reviews:

Loving the Chambered Nautilus is William Brittelle's iconoclastic follow-up to the art rock epic Television Landscape. Unlike its predecessor, this album focuses on chamber virtuosity and intimacy. It was written specifically for the players of ACME, merging the classical chamber music tradition with electronic retro-futuristic pop gestures. In each of these pieces, complexity and virtuosity coexist alongside visceral impact and surface appeal. The Chambered Nautilus, the sea creature after which the album is named, is comprised of both organic and inorganic material, with the line between being often blurred to the point of becoming indiscriminate. This fluid duality in effect mirrors the relationship between strings and electronics in this project, with both elements coexisting to the point of becoming one.



Reviews

William Brittelle/Loving the Chambered Nautilus/New Amsterdam
William Brittelle is another jewel of a composer on The New Amsterdam Label.
This time hes teamed up with ACME for a bunch of forays into chamber music/ synth-pop (I lack the right words). His style is light and extremely transparent, full of Torke/Rouse/Reichism, but still is quite unique in his constant shuffling and transitioning of the material in various synth-pop guises.

Heres what we got:
Track 1, Future Shock 1, is a good example, with it popish grooves, repeated 16th note rhythmic riffs, and funky bass parts percolating the music along. Theres a great synth /string doubling in the portamento melody in what seems like a sea of lyricism pouring from the composers brain. A tiny complaint is the tempo seems a tad beyond the players and/or rehearsal time but there are a lot of Faureish (?!?) chamber music moments to make up for it. The synth sounds are sweet, full of naivety and decidedly 90s preset/general midi, but at times, its part of the charm. No Reaktor, Max or IRCAM granular going on here. The piece beautifully moves into 4 on the floor amidst a host of very cool sequas, transitions, and morphing. Even more multi-flavored ice cream awaits inFuture Shock 2 and 3.
Track 4. Acid Rain consists of a short, nice, pop progression expressed in thick synth pads. The synths sounds moved into the 21st C on this one.
Track 5 is Future Shock, (cello version) and at times its a strange mix, with synths too far back sometimesand often a little too barren. But theres a really nice groove idea in the b idea (kick and bass).
Track 6.Loon Birds is more recitativo than the other tracks. Theres definitely a kind of Americana lyricism in the writing.
Finally, Track 7 is Loving the Chamber Nautilus (with vocals by Caleb Burhans doing a very funky falsetto). There is something really magical in its ballsy, blatant popishness. Yet formally, it continues to be pretty sophisticated in its constantly morphing /transitioning textures. The style is sort of a ninetyish brit-pop with banjo adding a very cool, contradictory timbre. I love the spectacular ending --Its like Tehilium or Brittens War Requiem for big box stores. But there is real genuine musicality throughout, which has this reviewer waiting for more from Mr. Brittelle. This is every classical purist nightmare--which makes it so stupid great. Im constantly wowed by the long Beethovenesque transitions -like hes working out all the motivic possibilities treating a Britney Spears track like its Missa Solemnis.

Most assuredly, Mr. Brittelle is definitely a fresh creative voice, thats completely lacking in cynicism and always comes from a very sincere place. My biggest overall complaint: I wish there was more compressed/thwack/harsh commercial production in both the acoustic and electronic parts.

Submitted on 07/14/12 by Mike Maguire 
Login or Create an Account to write a review
 

Also Purchased



Previous


Next


Works Details

>Brittelle, William : Future Shock (version for string quartet)
  • Performers: Sirota (Viola); Caroline Shaw (Violin); Clarice Jensen (Cello); William Brittelle (Electronics); Caleb Burhans (Violin)
  • Ensemble: The American Contemporary Music Ensemble
  • Running Time: 6 min. 56 sec.
  • Period Time: Contemporary

>Brittelle, William : Acid Rain on the Mirrordome, for viola, cello, ensemble & electronics
  • Performers: Sirota (Viola); Clarice Jensen (Cello); William Brittelle (Electronics)
  • Ensemble: The American Contemporary Music Ensemble
  • Running Time: 1 min. 41 sec.
  • Period Time: Contemporary

>Brittelle, William : Future Shock (version for cello)
  • Performers: Clarice Jensen (Cello); William Brittelle (Electronics)
  • Ensemble: The American Contemporary Music Ensemble
  • Running Time: 6 min. 30 sec.
  • Period Time: Contemporary

>Brittelle, William : Loon Birds in Meshed Crystal, for viola, cello, ensemble & electronics
  • Performers: Sirota (Viola); Clarice Jensen (Cello); William Brittelle (Electronics)
  • Ensemble: The American Contemporary Music Ensemble
  • Running Time: 4 min. 54 sec.
  • Period Time: Contemporary

>Brittelle, William : Loving the Chambered Nautilus, for ensemble
  • Performers: Eric Lamb (Flute); Sirota (Viola); William Brittelle (Electronics); Megan Levin (Harp); Caleb Burhans (Viola); Caleb Burhans (Banjo)
  • Ensemble: The American Contemporary Music Ensemble
  • Running Time: 7 min. 59 sec.
  • Period Time: Contemporary