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Bekah Simms released impurity chains in early September this year. On it are three tracks between six and seven minutes, three between ten and fifteen. Microlattice is controlled chaos. Like many of these works, it follows an ABA structure. Tonally it neatly divides into three roughly equal lengths. Bells announce new sections. A coda juxtaposes the two tonal areas, the closely layered pitches generating a new colour. Metre is shrouded by the expansive pace.
Next are two quartets, both using material derived from folk songs. Slept Unwell is for SATB vocal quartet featuring gasps, whispers and cries, the voices slightly extended with electronic effects. Newfoundland folksong The Maiden’s Lament is the source code; listen carefully. Swallow/Breathe, for string quartet, is a fresh take on the much-loved She’s Like the Swallow. Her coda quotes the melodic source material exactly, like a serving of dessert.
Granitic is for larger ensemble, but of a shorter length. The piece is an ominous sonic mobile, the ten voices suspended in space slowly rotating about, gradually revealing the discernible pulse and in the electric guitar, rock-like riffs. The title may well be a pun. Is there a Kid A (National Anthem) quote in the closing section? This is my favourite.
Everything Is… Distorted, brings back the slow pace of terror I felt in the opening track, while impurity chains is a 15-minute long solo for electric guitar via vocoder. This is a tough slog, and, to quote the helpful liner notes, marked by “various abstruse texts…embedded into the timbral fabric.”