Jarret Goodchild reviewed our latest album Speak, Be Silent for the new music blog I Care If You Listen, declaring it “a testament to Riot Ensemble’s vision and artistry.” Read the review below or check out it out here.
Since 2012, the London-based Riot Ensemble has given over 200 world and UK premieres and has become a spearhead at the forefront of new music. Forward thinking and creative, their Artistic Board members are also some of the top musicians and soloists in Europe. They are in constant motion, acting as curators, composers, performers, and commissioners for Riot Ensemble. The group’s latest album, Speak, Be Silent (HCR), is a collection of pieces that shows off the outstanding capabilities of the ensemble as well as the powerful voices of the composers they help to promote.
The album borrows its name from Liza Lim’s Speak, Be Silent. The piece features violinist Sarah Saviet, one of Riot Ensemble’s principal artists and Artistic Directors. Throughout the work, there are multiple moments where the instruments of the ensemble cascade over each other like waves. The effect is like the aural version of colored lights gradually changing hues, while at other times, it is like fireworks outshining each other. Frenetic bursts give way to feelings of melancholy, and eventually, Lim takes the listener to a new, more sparse sonic landscape. During these exposed moments, the solo violin is predominantly featured with long swaths of color, emerging intermittently from the rest of the ensemble. Saviet’s performance is fantastic–Lim’s writing demands extreme agility and precision, and Saviet delivers.
Chaya Czernowin’s Ayre: Towed through plumes, thicket, asphalt, sawdust and hazardous air I shall not forget the sound of opens the album. The poetic title is an excellent reflection of the music. The sounds Czernowin creates seem familiar and foreign at the same time. The repeated musical material seems to be dragged through the different hazards of the title. All movement is slow and compressed down to a miniscule range for much of the piece, with tones climbing over each other like rungs on a ladder.
In contrast, Baby Magnify/Lilith’s New Toy is fun, playful, and often erratic. Mirela Ivičevićachieves this feeling with percussive notes and sliding gestures across the ensemble. As this piece progresses, the tension mounts with an explosive texture. The sounds Ivičević is able to pull out of the ensemble are marvelous!
Ró by Anna Thorvaldsdóttir takes the listener in the opposite direction with long, dark, undulating tones that support eerie motives. The music is slow, methodical, and phrased in one long, gentle arc. Everything feels very carefully placed and deliberately moves through its paces. The interwoven rhythmic intricacy in Baby Magnify/Lilith’s New Toy coupled with the care to tone, nuance, and balance in Ró exemplifies the caliber of the performers and displays what makes Riot Ensemble so special.
The last track on the album is not an exclamation point, but rather more like a question mark. Rebecca Saunders’ Stirrings Still II slinks along in a similar way to Ró, but is more sparse and extremely intimate. The dialogues Saunders has created sound either like whispers or guttural growls. The string effects give this sonic construction a silvery exterior, and the mood is a reflective one. Saunders does an amazing job of pulling the listener in and suspending all sense of time.
You can order the album here