Album Review: Glim Dropper - Heartsick Phenomenon

By Guest Blogger, Don Tyler
Don is an aspiring writer living in Pike Creek with his two cats, Sam and Dave. He enjoys finding good coffee and even better live music.

There's been an incredible crop of talent popping up in the Wilmington region in the last couple of years, and one name that keeps coming up is Glim Dropper. This infectious trio from Philly is making a second home in Delaware after two successful performances at The WIlmo Rock Circus in 2012 & 2013, wowing audiences both years. And in September, they took their rightful place as winners of Delaware’s premier music competition, Musikarmageddon, after their second place showing in 2012. And now this…

Simply put, their new album, Heartsick Phenomenon, is an amazing record. The 10 songs on this album are simultaneously fresh and familiar. Driving and dreamy, melodramatic and melodic, it just hits you with hook after hook. Dan Kauffman’s vocals glide across the landscape in smooth arcs in a way that’s both inviting and introspective. Dan’s bass work on the album is surprisingly complex while complementing the arrangements without being overbearing. Live, he handles both of these roles with ease.

Ben Geise uses the guitar to drive the pieces and helps create their overall sound with a smart balance of effects. At times, overdriving riffs are juxtaposed against a wall of delay and reverb that helps draw you into the narrative. For audiophiles, it just creates another layer to the already engaging album. Ben was named WSTW’s Hometown Heroes Best Guitarist two years in a row, and it’s a deserving recognition.

All of this happens over the solid drumming of Rob Schnell. Rob’s drumming is intelligent and a perfect match for Dan and Ben. Finding the right moments to pop, while recognizing when to hold back and let the song do the work. His choices show that drumming is more than just speed or power, though he offers up plenty of both over the course of the album.

Rob kicks things off with the title track, a short welcome to the record that never relaxes in its enthusiasm. They then dive into Shanghai, which dives right into one of their strongest melodies from beat one. They take a dreamy breath that pulls you in during Night Doctor with one of Dan’s most enticing vocal performances, then take it up a notch with The Velvet Way To The Grave. Then comes the unexpected: A beautifully crafted acoustic piece called Hangman that is both haunting and optimistic. Second Sleep is a great complex tune. It ditches any sense of formula and dances around the beat in a way that keeps your guard up. They follow this up with two straightforward songs: the upbeat First World Problems and the mellow intensity of Better Life. Strangelove is for the rhythm addicts. A 12/8 gallop that uses the triplets to fool your brain into thinking it’s in 4/4, and using the intensity of that pulse during the verses to build the tension before resolving back to the 12/8. Brilliance. The album closes with the moody and reflective Another One, which gently lets you down off of this 41-minute ride.

If you haven’t seen Glim Dropper live, I highly suggest it, and when you do, buy this album and hand it to the person next you. Then buy one for yourself.

HIGHLIGHTS: Heartsick Phenomenon; Shanghai, Second Sleep, Strangelove.

See www.glimdropper.com. 

An Afternoon of Colorful Music with Mélomanie

By Guest Blogger, Chuck Holdeman
Chuck is a regional composer of lyrical, contemporary classical music, including opera, orchestral music, songs, chamber music, music for film, and music for educational purposes. www.chuckholdeman.com.
 
On Sunday afternoon, March 9 at the Delaware Center for Contemporary Arts, Mélomanie, Delaware's half-and-half chamber group (half baroque, half new music) played its third performance of its third program of the season. Themed "Ultraviolet," the program celebrated beloved longtime Wilmington Friends School music teacher Violet Richmond with the premiere of Ultraviolet, written in her honor by local composer Mark Hagerty. His piece Context also received its premiere, along with music by 18th Century composers G.P. Telemann and Anna Bon and 20th Century American composer, Alec Wilder. The virtuoso guest percussionist was Chris Hanning — a star in the international drumming firmament, and who, like Mélomanie flutist Kim Reighley, is on the faculty of West Chester University. Reighley also had a big day, performing in all five works on the program. 

Anna Bon di Venezia traveled with her parents as a prodigy, attended the music school where Vivaldi taught, and became a professional in the court in Bayreuth, Germany. While containing few surprises, her D major flute sonata is an extremely well-crafted example of the gallant style, which sounded beautiful on Reighley's wooden baroque flute, balanced so well with its harpsichord and baroque 'cello accompaniment. Telemann's A minor Paris Quartet, which opened the second half, was full of charming surprises, especially in its Coulant (flowing) middle movement — basically a set of variations interspersed with a beautiful ritornello. The unaccompanied flute and violin duet was striking, as was a solo variation, performed by Christof Richter on baroque violin. Viola de gamba player Donna Fournier also got a feature, and the tasteful continuo was provided by harpsichordist Tracy Richardson and Douglas McNames, baroque 'cello.

It was a rare treat to hear two new works by Mark Hagerty, a composer who has contributed so much to Mélomanie's repertoire, including his gorgeous Trois Rivieres, featured on the group's Florescence CD. I confess I'm a fan of Hagerty's work and have poured over his fascinating recordings. So it was a special pleasure to hear two works in which he seems to have broken new ground, also distinguished by the fact that Context and Ultraviolet have a virtually opposite point of view. Both use modern instruments, the former for alto flute and harpsichord, and the latter for the entire Mélomanie quintet with the addition of percussion. 

While Context is slow, meditative, with a limited though arresting arpeggiated harmonic palette, enhanced by the lovely timbres of the two instrumentalists, Ultraviolet has many highly contrasted episodes, and a completely unbuttoned point of view, including a rock-out drum solo, thrillingly improvised by Chris Hanning. But that is only one end of the spectrum, because the work begins and ends with the most delicate sounds of the ocean drum — John Cage would have enjoyed that these sounds balanced well with the building's ventilation system. In between there were numerous well-graded explorations, including a quiet shimmer of strings, delicately accented by metal interjections from a flute, a harpsichord string, or a bowed crotale. How surprising it was when a poetic harpsichord cadenza suddenly morphs into an uptempo ensemble romp, or when Reighley picked up her alto flute for a sensuous duet with the middle eastern doumbek drum. And since the theme was color — or anyway the imagined nuances of light frequencies normally invisible — Hagerty managed to excel with a succession of colorful instrumental combinations, often quasi static, but then bursting into rhythmic complexity. Bravo Mark! 

The program concluded with Alec Wilder's Flute and Bongos 1 and 2, composed in 1958, and still fresh and vital. Wilder wrote jazz standards as well as lots of classical chamber music, and we could hear his sophistication in both worlds. Reighley was virtuosic and Hanning's elaborate bongo drum accompaniment was apt and arresting. The drum part was so together with the flute, and so complicated, that I assumed it was all written out and then executed to perfection. Just now I read the program notes and found that Hanning was improvising — wow!

Mélomanie's next program at DCCA is Sunday, May 11, at 3:00pm. 

See www.melomanie.org. 

A Faust for All Tastes and Time

Heinz-Uwe Haus has created a very lively Faust Part I by Johann Wolfgang Goethe and made it both faithful to the original, yet modern in its conception. Man’s asking for more and yielding to temptation is not a time-bound issue. The modern flying and pyrotechnics and magic are only possible in our time, yet how well they are welded to the phantasmagoric effects Goethe had described in his story.

Mic Matarrese as Mephisto

Goethe had developed his Mephisto (Mephistopheles is the name Goethe used which is a badly constructed Greek word intended to mean one who shuns light) as a full-bodied character with emotions and impatience and a deep respect for the Lord whom he considers to be a worthy colleague. And Mic Matarrese (Mephisto) does not disappoint as he wheedles and befriends and convinces and conquers and provides that glorious mix of impatience, charm, and magic which our poor Dr. Faust swallows hook line and sinker.

Faust (Stephen Pelinski) creates a smooth transformation from the dried-up and world-weary professor to the hungry and rejuvenated fool whose appetite for carnal and other delights is whetted by Mephisto’s tricks and promises. Pelinski’s Faust is a cynic whose slow yielding to temptation has a beautifully gradual unveiling. His fascination with Margarete is complex, and he shows that complexity as he struggles with his lust and his love. Margarete/Gretchen (Sara J. Griffin) also makes her character more than just a girl who is duped – she goes through the transformation from lonely cherub to fallen angel slowly and painfully – starting with the joy of love and innocence and falling into sin without losing her unblemished spirit.

The tale is most beautifully told in verse created by Dr. Haus from his own translations and selected public domain translations, and translations by two unidentified UD scholars. The musical interludes are so seamlessly inserted by Ryan Touhey’s keyboard and percussion that it seemed the music was coming from the performers on stage. Mic Matarrese’s perfect gestures as he pulled music out of his walking stick or played the guitar are quite convincing. I will protect the secrets of the pyrotechnics by telling you Celebration Fireworks knows what they are doing and I must compliment FOY and the fearlessness of Elizabeth Heflin as the flying witch, Lee Ernst as the Lord hovering in heaven and Matarrese’s Mephisto buzzing in the rafters of the church.

Credit is due for special effects (hats off to Waldo Warshaw) but I can’t spoil your fun by telling you what they are. You will know when you see the bar scene with Mephisto, Faust and some lively drunken singers. The costumes are quite striking and the transitions as characters change, transform and transmogrify deserve a hand as well. The play runs until March 23, 2014.

See www.rep.udel.edu.