Laurence Crane, Natural World
This is the longest piece by Laurence Crane I’ve heard - three movements, totalling almost an hour. For electronics and voice and keyboards, with field recordings. It features one familiar Crane trope - songs made up of conventionally inappropriate lists, like in Tour de France Statistics. But after the long and for me slightly boring first movement I thought that there are some fresh and original ideas here, most strikingly the way he harnesses field recordings of the sea to produce a disturbing, threatening vibe. This is not just pretty music, it aspires to be more interesting than that. And in fact, it really seems to be quite thought provoking, though I’m not sure what thoughts it actually provokes. Ineffable is the word for it. It would be an excellent concert.
Juliet Fraser in fine fettle.
This is the longest piece by Laurence Crane I’ve heard - three movements, totalling almost an hour. For electronics and voice and keyboards, with field recordings. It features one familiar Crane trope - songs made up of conventionally inappropriate lists, like in Tour de France Statistics. But after the long and for me slightly boring first movement I thought that there are some fresh and original ideas here, most strikingly the way he harnesses field recordings of the sea to produce a disturbing, threatening vibe. This is not just pretty music, it aspires to be more interesting than that. And in fact, it really seems to be quite thought provoking, though I’m not sure what thoughts it actually provokes. Ineffable is the word for it. It would be an excellent concert.
Juliet Fraser in fine fettle.
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