![]() ![]() “Borderlands” was composed in “graphic score” by Matana Roberts for interpretation by Brooklyn Rider. The power of this music to evoke critical meditations on contemporary life from the audience was made possible by the thoughtful discussion in between performances. Even now, as performers take the stage in front of a masked live audience, we strain to imagine the celebration of normalcy in the future. In its eerie crescendo of complexity, the composition captured, perhaps, the hesitancy and strain of celebration when the end of the pandemic seemed far from near. As Violist Nicholas Cords explained afterwards, the work was composed at the height of lockdown and represented a dance in the streets of Brooklyn as imagined by Azmeh, the composer. As the piece matured into chaotic grandeur, the melody jumped from one instrument to the next amidst cryptic harmonies. Cameras aimed at the towering stage protruding from the bare floor across metal risers gave the show an exclusive feeling, like a backstage pass to a broadcasted event. Violinist Colin Jacobsen reared back his bow with the might of his whole body before the opening notes of Kinan Azmeh’s composition “Dabke on Martense Street” broke the anticipatory silence of the night. Between songs, the artists welcomed the audience into the thoughtful frameworks of each piece and invited composer Osvaldo Golijov to do the same before the world premiere of his piece “Um Día Bom (A Good Day).” Through music and conversation, Brooklyn Rider began their three-performance series with a meditative and engaging night of music. Almost every piece was specifically commissioned for the group and boldly showcased their provocative and experimental playing styles. Over the course of the night, the quartet took the audience on an intimate exploration of five compositions, including two world premieres. As they do not cross the fine line between authenticity and hackneyed formula.Questions you may ask yourself while in the audience of a Brooklyn Rider performance may include: Is that really a violin? Are you sure there are only four people on stage? Can a cello make that noise? Is that whirring coming from the stage or from an essence deep within me? And perhaps to your disbelief, the answers are yes, yes, yes, and believe it or not, the stage! The fluency of extended technique and expert navigation of labyrinthine arrangements defined the first performance of Brooklyn Rider’s Celebrity Series residency at GBH’s Calderwood Studio on Oct. The quality of the production and the musicians performances outweighs any lack of originality. The album might not have the strongest start, but the conclusive duo “Hail for the Priest” and “Return of the Sentinel” are excellent in every respectĪfter a first listening session, you might have mitigated feelings about Sermons of the Sinner. Tim Ripper Owens performances have to be saluted. The songs also clearly aimed at being a Heavy Metal anthem. Yes, the bass line is rather similar to “Heaven and Hell”. ![]() With the song “Metal Through and Through” you will have a déjà-vu experience. They follow the classic recipe of how to make a classic Heavy Metal hit, and annoyingly perhaps, it still works wonders. Songs have a clear and concise structure. “Raise your fist” again is not bad, but couldn’t they come up with a refrain that has not already been used and reused ad-nauseam? On the other hand, the production is tight and clear. “Sacerdote y Diablo” is the song that allows the ensemble to rise. The opening of the album is efficient but seems to lack some lustre. It’s classic Heavy Metal with galloping bass lines, sharp-edged riffs and haunting screams. The sound is unmistakably labelled with the Priest sigil. Tim Ripper Owens might have not convinced everyone when he was in Judas Priest, but you have to reckon he has an impressive range and this style fits him like a glove. Sermons of the Sinner is a very decent album with very good moments that hides the less inspired ones. ![]() Imitation games?įans of the Priest, be reassured, you don’t have to pick one side. Downing and his band for the past forty years. The name of the band itself is an indicator of this conflictual relation between K.K. The lineup includes Tim Ripper Owens, himself, who replaced Rob Halford from 1996 to 2003, Sean Elg, Tony Newton and A.J Mills. Downing united with ex-members of the Judas clergy to form his band, with this odd dynamic: an ode to the true spirit of Judas Priest and in opposition to the modern embodiment of the band. And Judas has celebrated their 50th anniversary. Downing, one of the founders of Judas Priest left the band in a grave atmosphere, a couple of years after the return of Rob Halford. It has already been ten years, since K.K. ![]()
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