Jack Sheen
Sub
Boomkat Product Review:
Manchester-based conductor-composer Jack Sheen pencils dark clouds on his debut album, shifting orchestral throbs into moody field recordings and bursts of white noise. Strong stuff, for fans of Lucy Railton, Deathprod, Maxwell Sterling, Apartment House, or Mica Levi.
As an in-demand conductor who's worked with the BBC Philharmonic and the London Sinfonietta, and a composer who's been commissioned by ensembles across the world, Sheen posseses the kind of experience necessary to push contemporary classical music into new places. On "Sub" he works with what he describes as a "lop-sided ensemble" using five alto flutes, two bass clarinets, two trombones, piano, percussion, four violas, and a backing track of white noise and field recordings. A keen and varied listener with experience in electronic and experimental music, Sheen wanted to bloat the mid-range as a nod to the dark ambient recordings of artists like Deathprod or Lustmord.
It's a trick that gives "Sub" a unique edge, and at times it's hard to believe you're listening to an ensemble recording. 'Sub One' is almost motionless, animation comes from hissing noise, lower-case instrumental drones and wavering resonance. Sheen draws us into his sonic space- instruments are suggested rather than signaled specifically, pulling away from cultural expectations rather than leaning into them. 'Sub Two' is even more disarming, and while the instruments are easier to place, the sound itself is overwhelmingly bizarre, almost surreal. Low midrange sounds unbalance the recording giving it a doomed, Lynchian pulse, and identifiable instruments like piano and viola sound like disquieted ghosts struggling to sing in recognizable tones. On 'Sub Four', viola sounds are matched with low-end rumbles, eventually subsiding into airy woodwind tones - providing the piece with a narrative of sorts, resonating with the unsettling oddness of an organic alien landscape.
"Sub" is a smart record, and it succeeds because Sheen defies the template. He's an adept classical composer with a deep knowledge of electronic music, and brings his understanding of orchestral music - as well as the spaces in which this music tends to be recorded - to his sound. So often, we hear electronic artists use orchestral elements as decoration- Sheen instead employs his sounds with an innate understanding of their history and sonic properties. It's gloomy at times, undoubtedly, but Sheen's passion permeates.
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Boomkat Product Review:
Manchester-based conductor-composer Jack Sheen pencils dark clouds on his debut album, shifting orchestral throbs into moody field recordings and bursts of white noise. Strong stuff, for fans of Lucy Railton, Deathprod, Maxwell Sterling, Apartment House, or Mica Levi.
As an in-demand conductor who's worked with the BBC Philharmonic and the London Sinfonietta, and a composer who's been commissioned by ensembles across the world, Sheen posseses the kind of experience necessary to push contemporary classical music into new places. On "Sub" he works with what he describes as a "lop-sided ensemble" using five alto flutes, two bass clarinets, two trombones, piano, percussion, four violas, and a backing track of white noise and field recordings. A keen and varied listener with experience in electronic and experimental music, Sheen wanted to bloat the mid-range as a nod to the dark ambient recordings of artists like Deathprod or Lustmord.
It's a trick that gives "Sub" a unique edge, and at times it's hard to believe you're listening to an ensemble recording. 'Sub One' is almost motionless, animation comes from hissing noise, lower-case instrumental drones and wavering resonance. Sheen draws us into his sonic space- instruments are suggested rather than signaled specifically, pulling away from cultural expectations rather than leaning into them. 'Sub Two' is even more disarming, and while the instruments are easier to place, the sound itself is overwhelmingly bizarre, almost surreal. Low midrange sounds unbalance the recording giving it a doomed, Lynchian pulse, and identifiable instruments like piano and viola sound like disquieted ghosts struggling to sing in recognizable tones. On 'Sub Four', viola sounds are matched with low-end rumbles, eventually subsiding into airy woodwind tones - providing the piece with a narrative of sorts, resonating with the unsettling oddness of an organic alien landscape.
"Sub" is a smart record, and it succeeds because Sheen defies the template. He's an adept classical composer with a deep knowledge of electronic music, and brings his understanding of orchestral music - as well as the spaces in which this music tends to be recorded - to his sound. So often, we hear electronic artists use orchestral elements as decoration- Sheen instead employs his sounds with an innate understanding of their history and sonic properties. It's gloomy at times, undoubtedly, but Sheen's passion permeates.
Boomkat Product Review:
Manchester-based conductor-composer Jack Sheen pencils dark clouds on his debut album, shifting orchestral throbs into moody field recordings and bursts of white noise. Strong stuff, for fans of Lucy Railton, Deathprod, Maxwell Sterling, Apartment House, or Mica Levi.
As an in-demand conductor who's worked with the BBC Philharmonic and the London Sinfonietta, and a composer who's been commissioned by ensembles across the world, Sheen posseses the kind of experience necessary to push contemporary classical music into new places. On "Sub" he works with what he describes as a "lop-sided ensemble" using five alto flutes, two bass clarinets, two trombones, piano, percussion, four violas, and a backing track of white noise and field recordings. A keen and varied listener with experience in electronic and experimental music, Sheen wanted to bloat the mid-range as a nod to the dark ambient recordings of artists like Deathprod or Lustmord.
It's a trick that gives "Sub" a unique edge, and at times it's hard to believe you're listening to an ensemble recording. 'Sub One' is almost motionless, animation comes from hissing noise, lower-case instrumental drones and wavering resonance. Sheen draws us into his sonic space- instruments are suggested rather than signaled specifically, pulling away from cultural expectations rather than leaning into them. 'Sub Two' is even more disarming, and while the instruments are easier to place, the sound itself is overwhelmingly bizarre, almost surreal. Low midrange sounds unbalance the recording giving it a doomed, Lynchian pulse, and identifiable instruments like piano and viola sound like disquieted ghosts struggling to sing in recognizable tones. On 'Sub Four', viola sounds are matched with low-end rumbles, eventually subsiding into airy woodwind tones - providing the piece with a narrative of sorts, resonating with the unsettling oddness of an organic alien landscape.
"Sub" is a smart record, and it succeeds because Sheen defies the template. He's an adept classical composer with a deep knowledge of electronic music, and brings his understanding of orchestral music - as well as the spaces in which this music tends to be recorded - to his sound. So often, we hear electronic artists use orchestral elements as decoration- Sheen instead employs his sounds with an innate understanding of their history and sonic properties. It's gloomy at times, undoubtedly, but Sheen's passion permeates.
Boomkat Product Review:
Manchester-based conductor-composer Jack Sheen pencils dark clouds on his debut album, shifting orchestral throbs into moody field recordings and bursts of white noise. Strong stuff, for fans of Lucy Railton, Deathprod, Maxwell Sterling, Apartment House, or Mica Levi.
As an in-demand conductor who's worked with the BBC Philharmonic and the London Sinfonietta, and a composer who's been commissioned by ensembles across the world, Sheen posseses the kind of experience necessary to push contemporary classical music into new places. On "Sub" he works with what he describes as a "lop-sided ensemble" using five alto flutes, two bass clarinets, two trombones, piano, percussion, four violas, and a backing track of white noise and field recordings. A keen and varied listener with experience in electronic and experimental music, Sheen wanted to bloat the mid-range as a nod to the dark ambient recordings of artists like Deathprod or Lustmord.
It's a trick that gives "Sub" a unique edge, and at times it's hard to believe you're listening to an ensemble recording. 'Sub One' is almost motionless, animation comes from hissing noise, lower-case instrumental drones and wavering resonance. Sheen draws us into his sonic space- instruments are suggested rather than signaled specifically, pulling away from cultural expectations rather than leaning into them. 'Sub Two' is even more disarming, and while the instruments are easier to place, the sound itself is overwhelmingly bizarre, almost surreal. Low midrange sounds unbalance the recording giving it a doomed, Lynchian pulse, and identifiable instruments like piano and viola sound like disquieted ghosts struggling to sing in recognizable tones. On 'Sub Four', viola sounds are matched with low-end rumbles, eventually subsiding into airy woodwind tones - providing the piece with a narrative of sorts, resonating with the unsettling oddness of an organic alien landscape.
"Sub" is a smart record, and it succeeds because Sheen defies the template. He's an adept classical composer with a deep knowledge of electronic music, and brings his understanding of orchestral music - as well as the spaces in which this music tends to be recorded - to his sound. So often, we hear electronic artists use orchestral elements as decoration- Sheen instead employs his sounds with an innate understanding of their history and sonic properties. It's gloomy at times, undoubtedly, but Sheen's passion permeates.
CD includes liner notes by Ed Atkins and live performance video shot by Laura Hilliard. Artwork by Will Boyd, mastered by Stephan Matthieu.
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Boomkat Product Review:
Manchester-based conductor-composer Jack Sheen pencils dark clouds on his debut album, shifting orchestral throbs into moody field recordings and bursts of white noise. Strong stuff, for fans of Lucy Railton, Deathprod, Maxwell Sterling, Apartment House, or Mica Levi.
As an in-demand conductor who's worked with the BBC Philharmonic and the London Sinfonietta, and a composer who's been commissioned by ensembles across the world, Sheen posseses the kind of experience necessary to push contemporary classical music into new places. On "Sub" he works with what he describes as a "lop-sided ensemble" using five alto flutes, two bass clarinets, two trombones, piano, percussion, four violas, and a backing track of white noise and field recordings. A keen and varied listener with experience in electronic and experimental music, Sheen wanted to bloat the mid-range as a nod to the dark ambient recordings of artists like Deathprod or Lustmord.
It's a trick that gives "Sub" a unique edge, and at times it's hard to believe you're listening to an ensemble recording. 'Sub One' is almost motionless, animation comes from hissing noise, lower-case instrumental drones and wavering resonance. Sheen draws us into his sonic space- instruments are suggested rather than signaled specifically, pulling away from cultural expectations rather than leaning into them. 'Sub Two' is even more disarming, and while the instruments are easier to place, the sound itself is overwhelmingly bizarre, almost surreal. Low midrange sounds unbalance the recording giving it a doomed, Lynchian pulse, and identifiable instruments like piano and viola sound like disquieted ghosts struggling to sing in recognizable tones. On 'Sub Four', viola sounds are matched with low-end rumbles, eventually subsiding into airy woodwind tones - providing the piece with a narrative of sorts, resonating with the unsettling oddness of an organic alien landscape.
"Sub" is a smart record, and it succeeds because Sheen defies the template. He's an adept classical composer with a deep knowledge of electronic music, and brings his understanding of orchestral music - as well as the spaces in which this music tends to be recorded - to his sound. So often, we hear electronic artists use orchestral elements as decoration- Sheen instead employs his sounds with an innate understanding of their history and sonic properties. It's gloomy at times, undoubtedly, but Sheen's passion permeates.
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