album reviews – Winnipeg Free Press

ROCK

Last Supper

Ecstasy Prelude (Island)

Singalong refuses it Nothing mattersThe first unreleased single from The Last Supper is “I Love You, It's Like Nothing Matters,” and it's a hit with network TV producers.

The London group are the hottest new act on both sides of the Atlantic, and they've agreed to change the Anglo-Saxon verb to “have” for effect, but that's about the only compromise they'll get from these five young women. Over the past four and a half years, singer Abigail Morris, bassist Georgia Davis, guitarist/keyboardist Lizzie Mayland, keyboardist Aurora Niszewci and lead guitarist Emily Roberts have created a world of baroque indie-pop – sonically and visually – that's blatant. Kate takes influences from Bush, Man and the Ants and Florence + the Machine and uses them with rare distinction.

The essence of TLDP lies in the backgrounds of its members—Mayland and Morris grew up in church choirs, and Morris was writing and playing bad gigs on the piano when they met through Davies at King's College London; Davies played in several bands, while jazz guitarist Roberts and composer Niševci were students at the Guildhall School of Music and Drama. The COVID-19 pandemic gave the quintet time to record, rehearse and shape their romantic (capital R) pop/rock sound and their first gigs with ambitious compositions and DIY flair. band in the studio with producer James Ford (Arctic Monkeys, Florence).

Three singles later, the band are the UK's 'next big thing' and have finally released their debut album. Accordingly, Prelude to Ecstasy 11 songs begin with Niševci's orchestral overture, which addresses the melodic themes. These consist of emotional stress Burning aliveto a glossy but deliberately melodramatic treatment Caesar on TV; from the fun sexual tension of Sinful, gracious lady and Nothing matters; to a beautiful piano balladry By your side and A handsome guy. Tours and lots of hype are coming. Wait for TLDP to be delivered. ★★★★ out of five

Stream: Caesar on TV; sinner; Nothing matters

– John Kendle

ROCK

Pylon Revival Society

Magnet Factory (Strolling Bones)

In 1980, Vanessa Briscoe Hay wrote the first track on Georgia alt-rock group Pylon's first album, “Sounds so good. The size is nice. The size is nice. Today, Briscoe Haye sings, making a beautiful noise as the leading lady of the Pylon Reconstruction Society. Magnet factory, the band's debut album: “Sssshhhh! Don't be so loud. We might get a group involved.”

Ah, rockers get mellow with age. Or don't.

It's not a Pylon comeback, as Briscoe Hay is the only PRS member of the two groups. Pylon Reenactment Society consists of guitarist Jason NeSmith, bassist Kay Stanton, and drummer Gregory Sanders, and together they bring to life Pylon's quirky, minimalist art-punk style with personality and panache.

Magnet factory Pilon first sounds as fresh as it did in the early 1980s, when the quartet from Athens sold few records but made a significant splash that inspired the likes of REM and Sleater-Kinney, even though the group released two albums before breaking up and then briefly reuniting for one more.

Magnet factory Containing angular arrangements and cryptic, non-linear lyrics, spasmodic, hyperkinetic melodies emerge in this unsettling moment. Briscoe Haye screams and screams and screams his lyrics atop Stanton's booming bass and NeSmith's obscure but mysterious surf guitar. Like Pylon, PRS makes dance music for people who don't dance well.

The album hits a midpoint Correction, featuring backing vocals by Keith Pierson of the B-52s. Equally pleasing Do not worrythe theme repeated like a Briscoe Haye mantra, dividing the second word by near-octave leaps.

From start to finish, this band is an irresistible combination of simplicity and synchronicity, touching and healing music. It can attract a lot of people. ★★★★ out of five

Flow: fix it; Messenger

— Stephen Wein, Associated Press

JAZZ

Winnipeg Jazz Orchestra

Tidal Currents: East Meets West (Chronograph)

The Winnipeg Jazz Orchestra is an important part of the local jazz scene and has received a large donation to create an endowment that will offer stability, opportunity and flexibility going forward.

The timing is great because WJO has a new edition that shows its continued improvement and development. The East meets West Here are works commissioned for the album by two major Canadian jazz composers: Jill Townsend, who grew up in Canada East, and Christine Jensen, who grew up in Canada West.

Although their paths diverged, they collaborated on this four-part suite that celebrates the powerful and meaningful memories of their homelands. Each composer contributes two pieces to the suite.

Townsend conducts and Jensen plays alto and soprano soloists. The other 16 players are the usual suspects for the WJO and, as usual, they acquitted themselves spectacularly.

The opening track is Townsend's Inside the wave. It features a gentle rocking groove and great solos from trumpeter Matthew Walden and drummer Fabio Ragnelli. As indicated by the album's title and cover, water references are an obvious basis for the music on the album. Jensen's Crossing the Lachine dances through rhythmic pop with a neat solo from tenor Niall Cade. Townsend's Tidal currents featuring bassist Carl Kohut and Christine Jensen as soloists. Jensen's Cliff jumping under the crescent moon leaving room for the soprano to fly in a beautiful solo.

It's been fun to watch WJO's transition from years of playing big band chart covers to more sophisticated and exciting modern jazz. It's clear that WJO can hold its own with any major jazz ensemble today, and Winnipeg should be proud of this community icon. Check it out. ★★★★ out of five

Flow: Inside the wave; Cliff jumping under the crescent moon

– Keith Black

CLASSIC

Nikita Mndoyantz

Prokofiev: Piano Sonatas No. 4 and 8, Scherzo

Nocturne (Aparte)

In this new edition, acclaimed pianist Nikita Mndoyantz tackles a range of works, including two Prokofiev sonatas and an arrangement of the 20th-century composer's scherzo. Symphony No. 5, Op. 100. Also, the artist has his own composition, simple title Nocturneit provides an additional perspective on his art, drawing on the tradition of Russian pianist-composers including Prokofiev and Rachmaninov.

Piano Sonata No. 4 in C minor, From an Old Notebook, Op. 29 gives the first taste of Mndojanc's technical prowess as he produces syncopated rhythms that match the sharp dissonances of the opening. Allegro molto sostenuto until the bright finale Allegro con brio ma not leggiere.

His second offering, Piano Sonata No. 8 in F major, Op. 84provides even greater contrasts from its highly introspective revealer Allegro Moderator, more lyrical Andate sognando Before even more pyrotechnics were released in the finale Vivace, depicted with clear precision.

An interesting feature is this Scherzo From Prokofiev Fifth Symphony It showcases the soloist's virtuosity while also succinctly capturing the ethos of the extensive orchestral work. Another one is from Mndoyantz Nocturne, a brilliant work, sparkling with brilliant contrasts, pregnant pauses, lightning speed and thoughtful words from the depths of the Russian soul. ★★★★ out of five

Stream: Piano Sonata No. 8 in F major, Op. 84, 'Andante sognando'; Symphony No. 5, Op. 100, “Scherzo”

– Holly Harris