The album opens with “You Know,” and as it begins there are waves of melancholy, but as it progresses, those are joined by warmth and hope, though still existing in a dark and lonesome place, a place that we’ll be calling home soon enough, I expect. Yet, some comfort is offered here, and that is what we take hold of. “Perfect Mold” follows, and a sharp rain falls upon us, though we make no attempt at first to seek refuge, for standing within it there is beauty. And you know, things suddenly lighten up at the end, a sort of awakening. Charles Xavier released an album titled Perfect Mold a decade or so ago, with quite a different version of this piece. There is something of a lonesome feel to “Grand Happiness” too, but a power comes from within. I suppose we must all find that once again. We thought we’d come through that test, most of us, and now we must face a repeat of that harsh reality. But, you know, it turns out we’re not alone. Just listen as that light pierces the sky just over that hill; we can see it as we listen.
As “Swallow” starts, things softly spring to life around us, reminding us that we will get through the current troubles. Take a moment to appreciate those signs of joy, of perseverance, even those tiny drops hitting the surface of a woodland pond, or even a city street puddle. Then we move into stranger territory on “Covid Oddity,” as he plays keyboard on this one. I’ve said it before, but I do hope someone writes a comprehensive book about the music that came as a result of the pandemic. This track has something of a science fiction vibe, touching the unknown, which seems to surround us before moving on. Charles Xavier switches back to piano then for “Little Portugal.” One striking memory of the pandemic is seeing news from around the world regarding how people tried to connect and spread joy through music, even when the clubs and bars were closed. And that’s what I think of when listening to this track. It was a frightening time, but there were moments of tremendous beauty and humanity.
“When I Think Of You” feels a moment of transition, as day into evening, conveying the hopes and desires that accompany the change, any change. The music begins to wash over us, like a cleansing, removing the worries and pain of the day. And we step into a potentially magic time. On “Africa” there is such great warmth. And if you close your eyes, you can feel it hitting your body, dancing upon your skin, encouraging you to rise up into it. There is no lonesome feeling here. The light of this music covers a wide expanse, and we feel that many others experience what we ourselves feel. That might be enough to reconnect us to humanity. Then “I Sat Outside There” takes us into different territory, away from familiar surroundings, away from the earth, as if we can walk within rays of light or become part of some ethereal force, perhaps even shape it in some way by the end.
“Morning” begins slowly, like the dawn. A thought here, a movement there. There is no rush to spring awake. Emerging from a dream, we are perhaps hesitant at first to step into a new day, unsure what it may bring. There are hints of sadness and beauty both. But even if we wished to, we’d be unable to halt its progress, and so we focus on the beauty and try to let the rest slide past us. And then with “Evening” it feels we are looking back, reflecting on that beauty, which has changed through our experience and through our own feelings about it. Perhaps something has been lost along the way, but there is a lot to hold onto as we get ready for the world to slip into darkness. And there is life in it yet, as we soon discover, for something else comes awake, darts about in the twilight.
Charles Xavier turns electric again on “Sexual Vibration Chakra,” experimenting with different sounds and tones and ideas, seeing what effect each will have. There seem to be multiple voices, thoughts, light and darkness engaged in a kind of slow, explorative dance, winds blowing from the open mouths of lesser deities. That’s followed by “Mary’s Pond.” There is something playful here, like we’ve stumbled upon a new place and at first are unsure of our footing. After a bit, we simply plop ourselves down, and find there is a welcoming magic to the area, now that we’re a part of it. Charles Xavier returns to an electric sound for “Stories New, Stories Old,” which has an interesting combination of sounds, of attitudes, partly alien, but with a 1970s vibe, and we’re able to relax somewhere in the middle. There is more a sense of urgency as “Expectations” starts, a feeling of movement, of need. It’s a more choppy movement, as if uncertain which path to move down. But there is light in the distance in all directions, so there is no worry.
“Ascended Masters” might feel hesitant too at first, but with a very different feel, a lighter step, made with wonder and curiosity, and ultimately a desire to connect to something beautiful, to touch it, to move with it and within it. That’s followed by “Profile Rock,” with warm waves coming in upon us. Our presence maybe diverts them, at least partially, for we are stone and skin, and the change in direction confuses things for a moment. The creatures rush about to make new sense of the world, and then a sort of wisdom is reached. With “St. John’s Cathedral,” a door opens into a room that at first seems empty. Our steps echo. But soon shadows and lights come to life, welcoming us. There are moments when we could slip into the shadows, be enveloped by them. The last of the album’s main tracks is “Round Hill,” a beautiful piece, like a dance with the elements, where even resting is part of the movement.
The remainder of the album is a series of shorter pieces, all between thirty and sixty seconds long, brief explorations of a thought or feeling, an interesting way of wrapping things up. The first is titled “Think About Light,” and when it begins it feels that it is already in progress. We are dropped into the middle of something as it is being worked out. It soon becomes lighter, almost delicate, and then is over. There is a darker feel to “Ying Yang I,” as its pulse captivates us. That pulse continues in “Ying Yang II.” “Jewels I” seems incomplete, the beginning of something, of a memory. “Jewels II” has a different vibe, the light playing upon it. There is a gentle and contemplative, yet curious vibe to “Introspective Loving Man.” “Trust I” feels like a passing thought, a moment taken from the day. “Trust II” becomes rather beautiful. And the album ends where it began, the final track being “You Know II.”
CD Track List
- You Know
- Perfect Mold
- Grand Happiness
- Swallow
- Covid Oddity
- Little Portugal
- When I Think Of You
- Africa
- I Sat Outside There
- Morning
- Evening
- Sexual Vibration Chakra
- Mary’s Pond
- Stories New, Stories Old
- Expectations
- Ascended Masters
- Profile Rock
- St. John’s Cathedral
- Round Hill
- Think About Light
- Ying Yang I
- Ying Yang II
- Jewels I
- Jewels II
- Introspective Loving Man
- Trust I
- Trust II
- You Know II
Pandemic Piano was released on September 9, 2022 on Happy Note Records.
.jpg)
.png){kind=tracking}
No comments:
Post a Comment