Jonathan Nangle’s “music of sustained contemplation”

Jonathan Nangle’s “music of sustained contemplation”
2 August 2017 Benedict Schlepper-Connolly

“The photograph of an abstract woven landscape, hand-knitted by the composer’s brother, is what first meets the eye.” So begins Michael Lee’s eloquent and comprehensive review of Jonathan Nangle’s new album, Pause, in GoldenPlec.

Lee describes the recordings as “music of sustained contemplation and balance”.

“Calmly deliberate, the strips of green, gold, blue, and grey, horizontals and gentle diagonals, evoke patience and self-effacement,” writes Lee. “For those holding the recording in physical form, an image of the craft-work appears again on the disc’s surface, this time seen from a tight angle, showing the threads emerge from the landscape’s woven surface.”

“The hints of minimalism and the focus on string instruments (with occasional extra electronic resonance), perhaps recall the early experiments of the Kronos Quartet, or Arvo Pärt,” he continues.

“Reflecting the situation of a composer whose day-job revolves around music technology, the soundworld interleaves natural and artificial resonances—if such a distinction still means anything in recorded media—suggesting sonic objects that are as much sculpted as composed.”

“With impressive performances by members of the Crash Ensemble and the high level of production we have come to expect from Ergodos,” concludes Lee, “this is an easy recommend.”

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