Traditional 梁在平

The members of the Skye Consort share a love of many of the sonorities associated with the early music movement and found that a fusion of these sounds with the evocative melodies of folk repertoire produces a new and interesting sound, further deepened and characterized by adding bass instruments and percussion. Also, the use of a countertenor emphasizes the ethereal and melancholy qualities of the songs performed. The songs and instrumental pieces chosen for the album come mainly from the Celtic, English and Swedish traditions but also include arrangements of melodies written by members of Skye Consort in a style that complements the other selections.

Traditional Techniques, Malkmus’ third solo LP without the Jicks (or Pavement), is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in his singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (2018) and the solo bedroom experiments of Groove Denied (2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory.

The Choir of King’s College, Cambridge, is one of the world’s best-known choral groups. Founded in the 15th century, it ranks among the oldest of its kind, and, while originally created for singing the daily services in the college chapel, now enjoys an international tour schedule that has seen it perform all over Europe and beyond. Every Christmas Eve, millions of people tune in to watch the choir’s A Festival of Nine Lessons and Carols from King’s – a service which has been continuously broadcast since 1928.

Before the 17th century, traditional Japanese classical music was mostly sung or performed solo, in particular after the arrival of the biwa, the shakuhachi, and the koto (in versions quite different from the modern ones we know today) from China around the eighth century. The biwa accompanied singers while the two others were played solo. In the 17th century the shamisen also arrived in Japan from China and quickly became popular, taking from the biwa a place it had occupied for a long time. Chamber music in which the shakuhachi and koto joined the shamisen, with the shamisen player singing, was created at that time. Solo pieces were arranged for this trio…

Night Ark is a group that draws from so many fields of music it proves difficult to label. Many (but not all) of the instruments featured on this release originated in the Middle East; leader Ara Dinkjian's specialty is the oud, but he also occasionally plays guitar and piano, along with the less-familiar canoon and cumbus. The music includes exotic originals by the group, each of which merits repeated listening.