During my commutes to work in December, I like listening to Dirty Three. Their loose and meandering instrumental music, which is part serene part frenetic, reflects the cold weather and festive and reflective end of year mood rather well.
The focal point in all this is Warren Ellis' dazzling and effects laden violin playing. At times Ellis' playing is astounding and makes me think that he is the violin-playing equivalent of musical legends, totally in control of their instruments, such as Jimi Hendrix, Charles Mingus and Miles Davies. Like those artists, Ellis is very technically proficient and a master in improv.
Despite the violin being a classical musical instrument and Ellis’ being inspired by traditional forms of ethnic folk, there's also guitar and drums in the line up (sometimes other traditional/ rock instruments too). Thankfully the other musicians are also exceptionally talented and the union works beautifully. Their guitarist Mick Turner is even an amazing painter! (See Mick's art here)
After long seven years, earlier this year Dirty Three finally released their 8th album Toward The Low Sun. Of course, as it's December I'm currently listening to it.
It's good to see that the band still manages to find new ways of expressing their unique and timeless sound by essentially sticking to the same musical vocabulary. The differences in their album are subtle and slight. Earlier albums such as Horse Stories, Ocean Songs and Whatever You Love You Are were carefully woven musical tapestries that were quite singular. Those records were largely based around epic crescendos with wide-screen vision. The last three albums, including TTLS, are more varied in ideas, economical and contain conciser songs.
TTLS itself is less melodic and focuses more on the actual musicianship of the band and the intricacies of their unrivalled musical chemistry. It has a certain freshness, as if these musically experienced guys are re-acquainting themselves in a practice room after some time. It also builds on the diversity and intimacy of their previous two albums without straying far at all. The songs aren't terribly catchy but still memorable due to the skillful playing and their varied backdrops (e.g. psychedelic fuzz, gentle piano atmospherics and brittle acoustic folk). Like other Dirty Three records, I'm sure that TTLS will reveal itself more overtime. In the meantime, here's proof that Dirty Three still deserve attention and have more to say, than most bands, without using any words.
The focal point in all this is Warren Ellis' dazzling and effects laden violin playing. At times Ellis' playing is astounding and makes me think that he is the violin-playing equivalent of musical legends, totally in control of their instruments, such as Jimi Hendrix, Charles Mingus and Miles Davies. Like those artists, Ellis is very technically proficient and a master in improv.
Despite the violin being a classical musical instrument and Ellis’ being inspired by traditional forms of ethnic folk, there's also guitar and drums in the line up (sometimes other traditional/ rock instruments too). Thankfully the other musicians are also exceptionally talented and the union works beautifully. Their guitarist Mick Turner is even an amazing painter! (See Mick's art here)
After long seven years, earlier this year Dirty Three finally released their 8th album Toward The Low Sun. Of course, as it's December I'm currently listening to it.
It's good to see that the band still manages to find new ways of expressing their unique and timeless sound by essentially sticking to the same musical vocabulary. The differences in their album are subtle and slight. Earlier albums such as Horse Stories, Ocean Songs and Whatever You Love You Are were carefully woven musical tapestries that were quite singular. Those records were largely based around epic crescendos with wide-screen vision. The last three albums, including TTLS, are more varied in ideas, economical and contain conciser songs.
TTLS itself is less melodic and focuses more on the actual musicianship of the band and the intricacies of their unrivalled musical chemistry. It has a certain freshness, as if these musically experienced guys are re-acquainting themselves in a practice room after some time. It also builds on the diversity and intimacy of their previous two albums without straying far at all. The songs aren't terribly catchy but still memorable due to the skillful playing and their varied backdrops (e.g. psychedelic fuzz, gentle piano atmospherics and brittle acoustic folk). Like other Dirty Three records, I'm sure that TTLS will reveal itself more overtime. In the meantime, here's proof that Dirty Three still deserve attention and have more to say, than most bands, without using any words.
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