Moon Apple – Four Pillars
Four Pillars
Moon Apple
May 8, 2025
May 8, 2025
April 3, 2024
February 25, 2024
February 18, 2024
October 10, 2023
September 3, 2023
August 6, 2023
July 30, 2023
July 5, 2023
June 25, 2023
December 10, 2023
August 24, 2023
November 26, 2023
February 4, 2024
September 11, 2023
June 11, 2023
June 1, 2023
May 15, 2023
May 7, 2023
April 27, 2023
April 23, 2023
April 16, 2023
April 5, 2023
April 11, 2023
March 26, 2023
March 19, 2023
February 26, 2023
February 9, 2023
January 26, 2023
December 11, 2022
December 3, 2022
November 21, 2022
November 14, 2022
January 29, 2023
January 22, 2023
January 15, 2023
January 8, 2023
December 30, 2022
October 19, 2022
September 17, 2022
September 8, 2022
September 4, 2022
July 3, 2022
June 25, 2022
June 23, 2022
June 1, 2022
May 22, 2022
May 28, 2022
July 17, 2022
June 28, 2022
July 8, 2022
July 13, 2022
July 22, 2022
July 21, 2022
May 6, 2022
April 27, 2022
April 18, 2022
April 4, 2022
March 15, 2022
February 27, 2022
February 24, 2022
February 13, 2022
February 8, 2022
January 31, 2022
January 20, 2022
January 25, 2022
January 10, 2022
December 23, 2021
December 16, 2021
December 6, 2021
December 1, 2021
November 11, 2021
November 2, 2021
October 26, 2021
October 20, 2021
September 13, 2021
August 1, 2021
July 10, 2021
June 30, 2021
March 25, 2019
March 25, 2019
May 9, 2019
May 10, 2019
May 13, 2019
May 28, 2019
May 29, 2019
June 11, 2019
June 24, 2019
June 25, 2019
June 27, 2019
July 2, 2019
July 2, 2019
July 12, 2019
July 30, 2019
August 8, 2019
August 23, 2019
August 29, 2019
September 5, 2019
September 10, 2019
September 20, 2019
September 24, 2019
September 30, 2019
October 4, 2019
October 9, 2019
October 10, 2019
October 12, 2019
October 14, 2019
October 14, 2019
October 26, 2019
October 30, 2019
November 4, 2019
November 5, 2019
November 6, 2019
November 11, 2019
November 20, 2019
November 25, 2019
November 27, 2019
December 2, 2019
December 5, 2019
December 20, 2019
December 21, 2019
December 24, 2019
January 7, 2020
January 10, 2020
January 17, 2020
January 19, 2020
January 22, 2020
January 23, 2020
January 31, 2020
February 4, 2020
February 7, 2020
February 17, 2020
February 19, 2020
February 20, 2020
February 29, 2020
March 7, 2020
March 12, 2020
March 13, 2020
March 15, 2020
March 20, 2020
March 20, 2020
March 20, 2020
March 24, 2020
March 27, 2020
March 29, 2020
March 31, 2020
April 6, 2020
April 13, 2020
April 13, 2020
April 18, 2020
April 23, 2020
Liam Murphy
December 23, 2023
Tracks in this feature
Tracks in this release
Silence is stationary. When music begins, the listener subconsciously latches onto whatever rhythm is being established. Even in ambient genres, such as field recordings or drones, our ears naturally try to search out a beat or pulse, something that helps us to understand where the momentum of the track is coming fro and going to.
This is what makes jazz so interesting, and so revolutionary at the time of its creation. The listener is often entrusting the thread of the song to the artist, moreso than any other genre. It often feels risky, as the rhythm stumbles and falters in order to communicate something outside of the tidy, suffocating realms of more simple beats.
Johanna Burnheart brings this unpredictable use of rhythm to Bär by the boatload. On each of the album's tracks, the listener can sense the importance of the speed and the slickness of how the music is moving. As composer, producer, violin and voice on the album, Burnheart leads this charge spectacularly and the chaotic but controlled drums of Ben Brown, the dulcet vibraphone tones of Jonny Mansfield and everyone in between contribute sizeably to its beauty. Bär shines with the gilding and refinements of all who feature on it. Johanna Burnheart herself clarifies that “I have challenged myself and my band tremendously with these pieces”. It shows.
Surprisingly, the first aspect of rhythm that makes itself known is the voice. After lethargic layers of Burnheart introduce us to Bär, we then hear her searching out with bright, scatting vocal sounds on Falke. Whirring synths weave around her too, an employment of more modern and often technologically restricted instruments. The melody and pacing feel strangely spontaneous, that is until Burnheart's troop appears behind her, following with dormant tones that emerge fresh and wonderfully buoyant. 'Show that you are not afraid' Burnheart repeats, closing each collection of lyrics. There's a defiance and bravery in it, but the drums jab out and digital residue from the vocals skips and judders uneasily. Are we sure we are not afraid? The tone is somewhat menacing and the momentum of the piece, though brave, falters on occasion.
Contrastingly, Burnheart's vocals implement a marching rhythmic melody on Ems at the album's midpoint. A pedal note giving lyrics a thrumming confidence, especially as she reassures herself: 'how can I fall, I know it all'. There's that same menace that often comes with the exploratory tone of jazz, but the vocals push through with a pragmatic melody built into a solid foundation, though this only lasts for around a minute. The instrumentation veers off, incredibly-played chattering drums wash over our sense of stability – still being defiantly implemented by the bass line – with an atmosphere of uncertainty. This begins to glow more brightly, too, as shrill violins wheel off into a reverbed landscape before an undoubtedly troubling melody line rushes in on the back of drums that have worked themselves into frantic fits of snare and cymbal. There's that flowing momentum, a similar vocal line even sheepishly reenters to close things out, but its tinged, once again, by unpredictability.
Johanna Burnheart even incorporates the flow of rhythm into the very narrative of some songs, like Something Cool, which weaves a tale of spontaneity and relaxation. Resonant bells and electronically charged percussion give a sense of vibrancy and intrigue as Burnheart describes a scene of repose; a request for refreshment in a humid, possibly holidaying location. The open-ended and endearing tone conveys an atmosphere of tranquillity, the popping high-pitched percussive elements even sounding like fizzling bubbles in some fancy beverage. Burnheart shocks the listener, though, as she introduces another person into the scene, saying she doesn't often 'drink with strangers'. What follows is a somewhat coy conversation between the two, and the listener begins to understand that that sense of intrigue comes not from simple refreshment and relaxation, but also from the chance meeting with a stranger and the cooling sensation of such a situation. The moment is exquisite and speaks to the intricate arrangement of the album as a whole, the 'challenge' Burnheart set for her band pays off in this and many other choice moments.
In employing interesting rhythmic experiences through the use of imaginative composition, Johanna Burnheart and her band are able to convey complex feelings of momentum and drive behind Bär. Some tracks achieve an interesting confluence of emotion, like hope alongside mystery. Other tracks use pacing and percussion to aid the story in the lyrics. This may all sound rudimentary, that is, until you fully appreciate the technical skills on display in each song. Each instrumentalist shines individually and as a collective, elevating the release as they do so.