{"id":3679,"date":"2015-08-04T13:05:42","date_gmt":"2015-08-04T17:05:42","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=3679"},"modified":"2015-08-11T14:56:45","modified_gmt":"2015-08-11T18:56:45","slug":"sarah-kirkland-snider-unremembered","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/sarah-kirkland-snider-unremembered\/","title":{"rendered":"Sarah Kirkland Snider <br>Unremembered"},"content":{"rendered":"<p><a href=\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2015\/08\/sarah_kirkland_snikder-unremembered.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-3680\" src=\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2015\/08\/sarah_kirkland_snikder-unremembered.jpg\" alt=\"Sarah Kirkland Snider, Unremembered\" width=\"250\" height=\"250\" srcset=\"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2015\/08\/sarah_kirkland_snikder-unremembered.jpg 250w, https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2015\/08\/sarah_kirkland_snikder-unremembered-150x150.jpg 150w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/><\/a>With <i>Unremembered<\/i> (New Amsterdam Records), Sarah Kirkland Snider cements her reputation\u2014begun with 2010\u2019s <i>Penelope<\/i>\u2014as the finest composer for voice of her generation. This song cycle, built around Nathaniel Bellows\u2019 poems and illustrations, uses an orchestra (with the Ensemble Signal as its core) of the most acclaimed players working today, including violinists Max Moston and Rachel Golub, violist Caleb Burhans, percussionist Jason Treuting, cellist Catherine Kim, and pianist Timo Andres, with singers Shara Worden, DM Stith, and Padma Newsome.<\/p>\n<p><i>Unremembered<\/i> finds its space at the uncomfortable, shadowy intersection between expansive gesture, baroque ornamentation, and modern interiority. Snider\u2019s 13 songs dance with myth and use images of death and decay (in both straight and subversive ways) to pry and poke its real subject: the gaps in our memory, where memory fails to show us an objective truth, but also where that failure seems to comfort and uplift us. The songs on <i>Unremembered<\/i> deal with place in a concrete way, but acknowledge that as soon as we remember a place or a time, that original place is gone, supplanted by the (subtly or greatly) different place we remember. On \u201cThe Barn,\u201d Worden\u2019s small and far-away voice repeats, \u201cYou who live outside of life, you\u2019re not alone, not yet,\u201d and punctuated by the silver rain of a harpsichord, it establishes something out of reach. Stith&#8217;s voice reaches in front of Worden to foreground the ambiguity and terror as the scene is shaded by keening, buzzing strings and insistent percussion. As the song drifts on, refrains of \u201cnot yet\u201d ringing through it, it finds an uplifting wave of cello and viola. Elsewhere, on \u201cThe Estate,\u201d a moody harp and a vocal melody conjuring Scottish balladry create a feeling of suspension, of being in between where you were and where you should be. A warm feeling moves through the echo and the harmonies, triangulating between the voice, the smoky strings, and the dry, lonely horn. It finds a simultaneous comfort and loneliness in leaving, with lines like, \u201cThey told me then to leave this place or stay and lose it all.\u201d<\/p>\n<p>Throughout <i>Unremembered<\/i>, Snider creates a devotional music unmoored to any specific tradition. \u201cThe Guest\u201d features spine-tingling harmonies rising to talk about dreams guiding someone out of the house, only to fall again, set in relief against blood-dark cello. The high strings and the whispering reeds turn that misguided, staggering search into a rich, multi-faceted hymn conjuring Mahler and Strauss as the voices roar, \u201cThey guided her out of the house,\u201d over and over again. \u201cThe Swan,\u201d while not as obvious a metaphorical image as a lamb, finds something deeper in the banal horror of a swan backed over by a truck. With a paper-thin and beautiful moan of voice and violins, this incongruous beauty is kept from floating away in its lightness by Nuiko Wadden\u2019s harp and Andres\u2019 piano.<\/p>\n<p>\u201cThe Slaughterhouse,\u201d a showcase for Andres\u2019 piano and Stith\u2019s voice, pulls these threads together in its story of touring an abattoir, wondering \u201cwhy hadn\u2019t they torn it down,\u201d why someone would leave something they no longer needed as a monument to death. That smell of death also sets the atmosphere beneath the almost jazz inflections on \u201cThe Orchard,\u201d full of loose-limbed swinging as it leans into the sour assessment of, \u201cThis was our greed and was its gift. We raised the thing that died to give.\u201d<\/p>\n<p>Everything here is in its place, but there\u2019s still an appealing grit; you\u2019d never accuse this ornate chamber music of looseness, but neither does it feel hermetic. Even at its most abstruse, everything is fed by a beating, glowing heart. The production by Snider and Lawson White, as well as the sound design by those two assisted by Michael Hammond, lets every piece of this album shine and makes it sound undeniably contemporary. The biggest piece of that contemporary feel is the use of percussion. Percussive sounds occupy enough space, enough air in the room, to cut through the lusher moments and drive the pieces along the way beats would drive a rock band. On songs like \u201cThe Barn,\u201d where percussion provides a crunching, earthy low end of gravity, or the sudden lightning-crack cymbal hits of \u201cThe Witch,\u201d it\u2019s made clear this is a record made for this time and a record this time needs. The multiplicity of musical languages spoken so deftly highlights the ambiguity of image and the melancholy of both remembering and not and can be unpacked again and again, still revealing treasures.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>With <i>Unremembered<\/i>, Sarah Kirkland Snider cements her reputation\u2014begun with 2010\u2019s <i>Penelope<\/i>\u2014as the finest composer for voice of her generation. 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