My one gripe with this interesting double album is the lack of sleeve notes; there’s a track listing and a brief overview but nothing else. I did find a useful interview with percussionist Ryan Scott on Canada’s Ludwig Van Toronto website, Scott explaining that he chose to use the snare drum “because it’s really the mother instrument of percussionists” — if you can master the snare drum, it’s likely that you’ll be able to master other percussion instruments. 14 contemporary composers were commissioned to write new works, Scott setting them no limits. There’s an enjoyably eclectic mixture here, various pieces adding extra instruments or electro-acoustic enhancements. Frequently you can’t quite believe what you’re hearing, especially when listening through headphones. Sections in Bekah Simms’ Skinscape IV are like being caught in a blizzard, while the opening of Vincent Ho’s Snap Noir could be mistaken for lowing cattle.
Scott’s own breath and voice become increasingly prominent in Emilie Cecilie LeBel’s heirloom and we hear him singing and whistling in The Far Night.fm by Nichole Lizée. A prominent electronic drone in Christina Volpini’s only ghosts threatens to steal Scott’s thunder, the two voices eventually finding equilibrium, and a resonant bass drum rings out, bell-like like in Sepals by Amy Brandon. Scott’s playing is superb throughout, his concentration and sense of intent palpable. Riveting stuff, then, and stunningly engineered — if you fancy stepping out of your comfort zone this weekend, try this.
