Meredith Bates – The Observer Effect
Meredith Bates; Various Artists
Phonometrograph (phonometrograph.bandcamp.com/album/the-observer-effect)
The size and scope of this latest album by Canadian violist/violinist and composer Meredith Bates is nearly overwhelming in its length and it conjures much powerful imagery. I have listened in its 140 minutes more than a few times and The Observer Effect is a stunning commitment. While Bates is known for her ambient style and textural expansions, this is not an album of “mush” music. The entire project was created live in the studio, with few overdubs or edits, and the multiple collaborations keep each track fresh and original while remaining a cohesive whole. I could not get enough of this gorgeous work, and each listen peeled open another layer of goodness. Track lengths vary from under two minutes to almost 46, and no two are alike.
Similar to Bates’ JUNO-nominated double-CD release Tesseract, The Observer Effect is presented in two “books”: Book 1 - Casting and Book 2 – Evocation. The title Observer Effect comes from the notion that “observing alters that which is being observed.” Each track of both books is titled Incantation, with a corresponding subtitle: protection, disillusionment, love, and memory constituting Book 1, and infatuation, silencing, and binding completing Book 2. Constructed with Bates’ core viola/violin material, the evolutions from one space to another remain at the heart throughout while explorations interweave and build. Adding to this album’s uniqueness is that, being constructed live, the layers remain interactive, rather than major edits or effects added afterwards. Bates plays violin and viola as well as adding additional field recordings which keep the music grounded, and Scott Morgan’s electronics add edge without spilling into noise. Chris Gestrin’s editing and mastering become another highlight of the album.
Track 3 love of Book 1 was the slowest, most patient evolution of beauty, with Gestrin’s additional synths adding layers of bloom and colour, melting into track 4’s memory. Book 2’s closer binding begins with Bates’ viola arpeggios, somehow blossoming into a sparseness that elongates into rich delays, exquisitely developing into my favourite track on the album, when percussionist Curtis Andrews seamlessly blows into town taking the roof off this piece. At 11 minutes, it was over far too soon.
