An interesting nature-themed program from the string ensemble, Kinetic.

Here’s another release from Bright Shiny Things with no program notes included, other than a brief introduction from the group. Also missing are individual track timings. I experienced the same frustration from this label on another of their albums of string quartet music, “shatter”, played by the Verona Quartet. For an album comprised entirely of new music by completely unknown composers, played by a group on its debut album, this conspicuous lack of information is inexcusable. I can only surmise it’s a way to bring down production costs, so perhaps I should be more tolerant. However, I find it curious they took up a lot of what little space they had on the inside of the enclosure to list the names of all the individual string players separately for each piece (many of which are the same). I’m puzzled why that was considered important (other than for members of the ensemble) rather than pertinent information about the music they play.
 
Grumbles aside, this is a (mostly) wonderful program of music - perhaps with one exception which I’ll get to momentarily.
 
While this is the debut album from the Houston-based string ensemble, Kinetic, they have appeared on record before - on a fantastic 2021 Orchid Classics album of music by Michael Jalbert. Their playing of the title work, String Theory, was positively thrilling and they were also featured on two additional selections on that same CD. So I knew what to expect from their own album, produced by them, presenting all new music commissioned for them.
 
What I wasn’t expecting was to hear pre-recorded bird whistles at the very opening of track 1 (plus what could be human whistling by one of the players too), soon joined by chirping crickets. It quickly became apparent Patrick Harlin’s “Wilderness Anthology” is a collection of tape-recorded nature sounds accompanied by some incidental string music. One wonders if Kinetic had this kind of thing in mind when they commissioned works for their nature-themed album. 
 
Musically, there are whimsical whiffs of melodic motifs interspersed among the birds in the opening Dusk. The second section (Jungle Disco) starts with rhythmic crickets (perhaps electronically manipulated) joined by spiccato violins in sync with them, punctuated by heavy, bouncing motifs in the low strings below. This is nicely propulsive and just dancing enough to hint at the “disco” indication. But I thought it needed a little more verve and vigor; this jungle sounds just a little too tame. So too in Dawn Chorus, with its moto perpetuo flurries, a bit more furioso might have been in order. 
 
As track 4 plays, I hear…nothing. Whatever is going on here is virtually inaudible until the strings start playing about 30 seconds into it. Backing up and trying it again with the volume turned way up, I could just hear a very faint wind blowing, over which the strings create an eerie, otherworldly soundscape with various effects such as harmonics, glissandi, and mysterious sul ponte meanderings. Similarly in Extraordinary Machine, the opening is practically inaudible with more eerie sul ponte string effects - this time with crawling scalic figures which build with intensity before fading away, taken over by dancing violins (with the occasional open-string twang of fiddling!). The music gains momentum but soon runs out of steam, just like a machine drooping and slowing to a halt, portrayed here by some ingenious orchestration. Soon, the scurrying scalic activity resumes at full power (with the flavor of Piazzolla), culminating in a tempestuous flurry at the end - music which once again simply cries out for more energy and fury from this small orchestra.
 
The birdcalls are back for Nightscape (sigh), with much more variety this time, but oddly no music at all - just 2 minutes of recorded nightsounds reminiscent of Jurassic Park. I had hoped the final track, Dawn, would bring something more musically significant, but it concludes the piece uneventfully, accompanied by prominent sounds of ocean waves lulling us into slumber. 
 
This is something of a novelty and, as such, is pleasant enough once through. It's not really my thing, but I admit I found it interesting. I would be more interested, though, in hearing something more compositionally substantive from this composer in the future.
 
Matters improve considerably with the string quartet by Paul Novak. It is a substantial work lasting over 12 minutes, with a variety of continuously flowing sections within its single movement. We encounter stark, desolate (and fantastical) atmospheres, with fascinating orchestration utilizing an endless variety of effects. It's soon overcome by engaging rhythmic patterns, almost minimalist in style. The piece is sparsely scored with transparent textures and an incredible variety of sounds and colorful soundscapes. It is very contemporary, without structure (per se) and not at all tonal or melodic. Novak takes his time, creating unimaginable soundworlds somewhat reminiscent of Dutilleux and Ligeti. I personally don't hear anything suggestive of a flock of birds in this music, but I do hear inspired creativity from a promising young composer.
 
With the next piece, What Happens If Pipes Burst by Nicky Sohn, at last we hear the full string ensemble in all its glorious richness. The group is comprised of 4/4/3/3/2. At first I thought it might be too bass-heavy with 2 bass viols countering just 8 violins, but it’s not. It’s an impressive, full-bodied sound, without ever becoming gruff or overbearing in the bass.
 
And what a wonderful piece this is! It begins energetically with driving, propulsive rhythms. And I hear the vitality from this group that I remember from their previous recording of String Theory. They dig in with gusto, creating a rich, powerful (but never thick) body of sound, which is quite arresting. But it isn’t relentless. There is much interplay between tutti and solo strings, alternating with atmospheric interludes full of anticipation and color. After some time, the rhythmic pulse begins again, hesitantly this time, but builds in tension until breaking out into the most delightful section of capricious whimsy, brought vividly to life by these players. Tempestuous, driving rhythms soon drive it home with an energetic and very exciting conclusion.
 
This is a tour de force, with brilliant playing from this group, and I found it to be the highlight of the entire program.
 
After that, coming last on the program, Daniel Temkin’s “Ocean’s Call” has its work cut out to match the excellence of bursting pipes. And it very nearly does. The opening movement, Hanging Cliffs, is similarly crafted, with tutti passages alternating with wonderful soloistic passages - most notably extended cello solos. It is richly scored and engaging, although I thought the movement went on just a little too long (at over 8 minutes). The central section, The Bitter Salt of the Sea, begins almost imperceptibly, with some interesting (and unusual) rhythmic pulses col legno and scratching effects sul ponte - which would have been more intriguing if we could hear them better. And then when the solo viola enters, it’s too loud. But as the volume levels off, we hear marvelously orchestrated passages with harmonics in the middle strings over pizzicatos below. Col legno rhythmic impulses begin again with mesmerizing insistence, interacting with decorative violins up above it. This was a marvelous section and surely the highlight of the piece.
 
Concluding the work, Lullaby Waves is introspective and melodious, and more unmistakably “American-sounding" than anything else on the entire program. It is somewhat plaintive and sparsely scored, reminiscent of wide-open spaces (ala Aaron Copland), featuring expressive, heartfelt solos from various sections of the orchestra. I love how the piece comes quietly - and satisfyingly - to an end, bringing this concert to a close.
 
The recorded sound is excellent - with the exception of those sections which are simply too soft for a realistic volume level in the home listening environment. I found they worked better on headphones, however, so this might not be a problem for some. Otherwise, this is an entertaining, rewarding and interesting program of new music, played with enthusiasm and finesse by this terrific ensemble.