This Is Awkward

Although at first we might wonder at the rationale for pairing these two pieces–a double bass concerto and a sinfonia concertante by a (not very well liked) colleague of Mozart and Haydn–on closer inspection we realize that the connection derives from the fact that both pieces were premiered by the same double bass virtuoso. Leopold Kozeluch’s Sinfonia Concertante is scored for the unique combination of mandolin, trumpet, double bass, and piano.

It is almost exactly a quarter of a century since Pierre Boulez recorded his complete Webern survey. This new collection, apart from being useful for anyone who doesn't want to buy three whole CDs of Webern, offers an interesting insight into how Boulez's way with a composer probably more central to him than any other has changed. For a start he gives him a little more time: most of the pieces here are slightly but significantly slower than they were in 1970. This allows lines to be more subtly moulded, phrases to acquire a touch more poise. This is not to say that Boulez has softened and now phrases Webern as though he were Chopin, but grace and even wit (the second movement of the Quartet) are now noticeable alongside his customary precision. The Ensemble InterContemporain have been playing these pieces constantly since they were first founded, and it shows in the absolute assurance of their performances.

First things first: of course it's better than Results May Vary. How could it not be? But let's not get ahead of ourselves – Charmbracelet is better than Glitter, Generation Swine is better than that pseudo-industrial Mötley Crüe album without Vince Neil, but that doesn't mean you'd want to listen to any of them. But The Unquestionable Truth, Pt. 1 – whose title threatens a sequel and suggests a concept album – is certainly a comeback of sorts for Limp Bizkit…

It’s always interesting to see how instrument choices and production techniques can have such a strong effect on dating a band or album. Whether it’s the arena-sized, cannon-shot snare drums of the 1980s or the hyper-compressed, extended-range guitars of today, there are a host of characteristics within rock and metal that can instantly transport a listener into another landscape. Hexvessel, however, seem to have been frozen in time, specifically 1973. With their third LP, When We Are Death, this Finnish sextet have come back after four years with an organic and somewhat convincing throwback record that suffers from an unfortunate predilection for exact simulation of the past.