Harmonie du soir

Rhys Chatham has famously written and conducted pieces for 100 and 200 guitarists, and his compositions bridge the work of classic minimalists like LaMonte Young and the odd rock-guitar tunings of Chatham\'s former students such as Sonic Youth and Band of Susans. His general idea is that his notes don’t change so much as fluctuate in density to capture a rich variety of sonic overtones. Here, he records three compositions with different concepts for each. The title piece finds the composer returning to the format of six guitars, bass, and drums. It\'s interesting but typical Chatham fare. The use of a brass orchestra (with percussion) on “Harmonie de Pontarlier: The Dream of Rhonabwy” is both more unusual and fascinating thanks to the variety of instruments used to create a sustained and often transcendent feel. After that elegant second piece comes a new version of “Drastic Classicism Revisited.” Originally written in 1982, this new version recorded 30 years later illustrates how and why Chatham was so important to the post-punk and noise rock movements. All in all, this is an important new missive from an influential figure.

Rhys Chatham’s Harmonie du soir presents three heavenly compositions. The title track is the first major piece written for the configuration of six electric guitars, electric bass and drums since Die Donnergötter (1986). The second is The Dream of Rhonabwy, a piece written for large brass ensemble and percussion, realized in 2012 by a 70-piece brass band called Harmonie de Pontarlier, lead by the French conductor Patrick Erard. The last track on the CD version and bonus download for the vinyl edition is a 2012 studio performance of Drastic Classicism Revisited featuring Rhys Chatham, David Daniell, and Ryan Sawyer. The whole package is presented lovingly, mastered beautifully by James Plotkin, with extensive notes by Mr. Chatham. “[Rhys Chatham] is one of noise rock’s founding fathers. Without him, there would be no Sonic Youth, no Jesus and Mary Chain, no My Bloody Valentine . . . he remains a towering figure among six-string aficionados.” — Greg Kot, Chicago Tribune, author of Wilco: Learning How to Die “It might justly be considered music to pray to.” — Will Hermes, The New York Times “Surging phosphorescence… Uplifting.” — David Fricke, Rolling Stone “Stunning.” — Byron Coley, Wire Magazine

Seminal downtown N.Y. composer Rhys Chatham's latest release, Harmonie due Soir, includes three pieces—his first ensemble of six guitars and drums since the mid-80s, a work for a 70-piece brass ensemble, and the screeching, clawing Drastic Classicism Revisited.

If Rhys Chatham's Harmonie du soir comes with a whiff of a throwback, it's to be expected.