“88 was composed on the piano with bowed and plucked upright basses, some discrete percussion and sound effects,” says Lavoie.
“I also thought about hiring string players to play on some of the tracks, but eventually decided to take on the challenge of playing everything on the upright bass, to achieve a darker and perhaps more unusual string section.”
“Everything started on the piano. I also explored recording techniques emphasising the sound resulting from the mechanics of the piano and my fingers on the keyboard. These sounds are rarely acoustically audible, but add an intimate and intriguing aspect to the recording.”
Bridge Carols is the meeting of two artists with unique timeless approaches to music. Neo-Americana folk singer Laura Gibson is gifted with a soft and singular voice (not unlike the voices of Josephine Foster and Joanna Newsom) and writes songs that could date back a century or foretell a future rural life. Electronician Ethan Rose is vested in antiquated instruments and technologies – a sonic recycler who, out of the old, has been creating a new form of ambient music.
This 44 minute piece may structurally resemble a classical composition – divided as it is into several interlocking stanzas – but it’s difficult to place it comfortably within the realm of modern music. If anything, ‘The Rest….’ evokes the otherwordly, fantastical obsessions of the Victorians (Conan Doyle, Lear, Grandville, Wellcome, etc) through means of meticulously manipulated instrumentation, samples and voice.Plinth, of course, is no stranger to Victoriana.
With The Rules of Another Small World, M. Ostermeier has arrived at an elegant voice – otherworldly and strangely beautiful, much like the desolate Taiwanese San-Zhr Pod Village gracing the album cover.
While elements of electroacoustic, modern classical, jazz, glitch, drone, ambient, and even lounge weave in and out of the record’s eleven compositions, The Rules of Another Small World is the converse of an eclectic collection of songs.