Piano Interrupted - Two By Four (2013) + The Unified Field (2013)

Klavir Toma Hodgea prestravljen komjutorima Franza Kirmanna. Od straha, klavir piša mlijeko.

www.pianointerrupted.com/
www.denovali.com/pianointerrupted/

Two By Four is some kind of musical summation of the evolution of Piano Interrupted over the past three years, from an exclusively studio project centered around the manipulation of Tom s piano by Franz s computer, to a fully-fledged live band with the addition of Greg Hall on the cello and Eric Young on percussion. Some of the tracks on the album have appeared in various forms on previous releases, but the spirit of the band is one of exploration, mutation, recycling, and reinventing, and the album documents this journey and how the music has evolved though the years. - www.amazon.com/

When a label picks up a recent record for re-release, it’s helpful to add bonuses.  Denovali goes all out with this version of Two by Four, initially released on Days of Being Wild, by nearly doubling the length.  The vinyl / double disc collection includes a trio of previously unreleased studio tracks and three live tracks, each of the latter longer by half than its recorded predecessor.
As Piano Interrupted continues its evolution into a live band, the live tracks serve as an advertisement for the tour.  The live version of “London Waltz” is the biggest surprise, as “tickytock” vocals are added to the prevailing percussive rhythms.  Conversely, “Etude (Live)” removes the percussion and cuts back on the strings in order to highlight the delicate piano lines.  The album also includes revisitations of previous works, a sign that Piano Interrupted’s songs are in a constant state of flux.  The former duo, now a quartet, seems more interested in experimenting than creating definitive versions.  On some tracks, the tinkering may end here; on others, it may have just begun.  Every live band shares the same quandary: give the people what they want, or try something new and and see if they follow.
Piano Interrupted has always landed between genres, producing works that rest on the borders of jazz and modern composition, with a healthy dose of supporting electronics.  The addition of cello pushes “Hobi” and “Foug” well over the fence, producing welcome echoes of artists such as Richard Skelton and Greg Haines.  ”Hobi”s bass, piano and shaken percussion raise it to orchestral status, no surprise given its inclusion in the score to “Papa Hedi”, a film about Hedi Jouni, known as the “Frank Sinatra of Tunisia”.  Two other tracks from that score are included here, most notably “Bulbus”, the album’s most ethnically distinguishable offering.
Many of the album’s earlier pieces lean in a jazz direction.  A seven-note section of “You Don’t Love Me Yet”, found at 1:59, even sounds like Stevie Wonder’s “Don’t You Worry ‘Bout a Thing”.  ”London Waltz” concludes with a lovely, understated saxophone solo.  The later tracks offer more in terms of electronics, displaying what seems to be an intentional track sequencing from pensive to the pulsing. Older pieces “Occasional Blues” and “Nocturne” include memorable beat equations, a reminder of the olden days when electronics were half of the equation.  Just don’t get too used to these tracks ~ you may never hear them quite this way again. -  Richard Allen

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Papa Hedi (2012) pianointerrupted.bandcamp.com/

THE UNIFIED FIELD (2013)


Piano Interrupted is the brainchild of London-based pianist and composer Tom Hodge and French electronic producer Franz Kirmann. Coming from two very different musical worlds (electronica, pop and techno for Franz; classical and minimalism for Tom), the two musicians had been friends for a long time before deciding to make music together.
The Unified Field is Piano Interrupted's 2nd album.
It was recorded in London in the first half of 2013 and features 10 brand new compositions. Kirmann and Hodge began the recording process on Tom's childhood piano, a Pleyel baby grand complete with its own peculiar characteristics and quirky charm. Recordings of Greg Hall's cello followed, as well as the new addition of Tim Fairhall on double bass.
The title of the album comes from David Lynch's book Catching The Big Fish. In the context of his film-making, Lynch explains that if such a field exists then everything within it interconnects in one way or another, so that scenes and elements that may initially seem disconnected from each other emotionally or in terms of meaning, would in fact eventually make sense. This idea seemed particularly fitting in a musical context also, as it neatly captures Piano Interrupted's core music-making methodology; namely to draw upon multiple, varied styles and influences and bring them into one coherent unifying whole.
The Unified Field exhibits many classic Piano Interrupted's traits and tropes, but whereas their debut album Two By Four was all about discovery, the new album is about the deepening musical relationship between Kirmann and Hodge through their continuous exchange of ideas. If Two by Four was an amalgamation album borne of three EPs, then The Unified Field is a much more focused and concise snapshot of Piano Interrupted's approach.
The new album simultaneously refers back to the intense intricacy of early EPs whilst building on developments from Piano Interrupted's live explorations and improvisations as well as the extended recording techniques and filmic sound of the Papa Hedi EP. Dense arrangements of fragile piano, colourful cinematic soundscapes, organic rhythmic textures and rich, warm strings provoke a diverse range of emotions. The Unified Field is both a seductive, one-time listening experience and a record to return to again and again to reveal its intricate secrets and subtleties. - denovali.com/

Piano Interrupted‘s debut album Two By Four was informed by modern jazz, but the duo’s follow-up is a more classical venture.  The pair’s marriage of piano and electronics remains intact, while the confidence of the artists is increased.  The Unified Field flows better as a result; the elements are well-integrated, and the overall mood is one of tender experimentation.
The opening notes drive this point home.  A series of stuttered, electronic piano notes, welded to glitch, are quickly offset by straightforward ivory tones, forming pre-echoes.  The entering strings provide the aural glue, but they too are offset by a droning swirl.  ”Emoticon” sets the tempo for the entire album by avoiding the trap of prettiness.  Smooth edges cause music to wash over the ears; rough edges draw attention.  Dissonant hints are used to great effect: a rushed eighth note in “Two or Three Things”, seemingly dropped notes in “Lost Coda”.  The intentional “wrong” notes allow the listener to concentrate on the “right” ones.
While Tom Hodge’s piano provides many memorable moments, Franz Kirmann’s electronics are just as important to the album’s success.  This is, after all, a unified field.  The clocklike timbres of “Cross Hands” (2:24 on) bring Kirmann into the spotlight.  For the first time, one can imagine a dance remix as a possibility.  Kirmann’s techno background is apparent on “An Accidental Fugue” as well, as a fat synthetic bass provides an unexpected thrill.  The positioning is key, as this element is only found in the center of the track, which also contains a memorable 12-note piano motif and is bracketed by strings.  In imitation of what has come before, this bass is joined by an organic bass, forming an elegant contrast.

In November, the duo will hit the road for a brief tour, stopping in Italy, Germany and Belgium.  One expects a mixture of fans, representing at least three different genres.  From the sound of this album, none will be disappointed; some may even leave with broadened tastes.  (Richard Allen)