Tim Hodgkinson & Yumi Hara Press / Reviews

  CD album Schema*Sukima reviews

1 Feb 2019, by Dmitry M. Epstein (LET IT ROCK)

'Triumph of unexpectedness from proponents of chamber music, where mental effort meets happenstance.

As a senior lecturer at at University of East London, Dr. Yumi Hara Cawkwell knows the value of discipline, yet there’s a different aspect of this practice which she applies to her performances, and if album with Geoff Leigh allowed but a sneak peak of such an approach, the concert the avant-garde composer played with another HENRY COW alumnus, Tim Hodgkinson, is a master-class in emotional intangibility – something requiring a lot of discipline from artists and listeners alike. “Playing” must be a keyword here, because that was a game: the musicians sat with their backs to the audience to face a variety of instruments and other objects for the first part of the show and stood up to deliver a stunning aural installation once tension reached its apogee. Expecting any kind of release from the resulting sounds would be a mistake, though.

For all the duo’s supposed spontaneity, the appearance of “E=mc2” – a piece which keeps popping up in Yumi’s on-stage repertoire – and the mesmeric song “Walk In The Middle Of The Road” from "Statement Heels" betray the amount of preparation she and Tim had invested in shaping these pieces; devoid of visuals now, his passionate clarinet and her eerie vocals are the only voices one can connect with, the percussive rest working on an almost subliminal level. “The Offering – R Y B” may combine clang with screech, and scratch with rustle that slivers of ivories try to stitch together, but “The Revealed – The Hidden” has a cinematic fright laid out in synthetic patterns as if to defy the concept of chaos hanging over everything, “The Plot – The Plan” – the alien blues – and the short title track the epitome of deceptively disjointed reality. The existentialism will seem seamless in “Appearance / Disappearance” thanks to the presence of cosmic piano and solemn organ.

Still, it’s the meditative “Latifundia” that’s the foothold of this chamber experiment, a suggestion that there’s more then meets the eye in this collaboration which can never be repeated. Capturing the extended moment, “Schema * Sukima” is an attempt to embrace infinity.

***2/3'


28 Feb 2018, EURO ROCK PRESS vol.76 by Atsushi Asano (Japan)

インタ中の言及通り、ロンドンのギャラリーで行われたアルバムと同題の展覧会の作品前での2人の初共演を収録。英国と日本の美術家3人ずつの作品を展示、その共通 点と相違点に迫るというコンセプトに則り、音楽家として2人が選ばれ、前半はジャケ写にあるように観客に背を向け作品に向かい机に置いたものを座って演奏=ホジキ ンソンのラップ・スティール・ギターにユミのパーカッションや紙や小モノ等にキーボード、後半は観客に向かって立って演奏=クラリネットとユミ自身やカトラーの歌 詞も用いたヴォイス+小モノでと、場の空間性を感じさせる緊張感溢れた演奏になっている。マスタリングはボブ・ドレイク。

 

 

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