a r t i s t : Sean McCann
t i t l e : The Capital
d a t e : 2011
l a b e l : Aguirre Records
c a t : ZORN07
s o u r c e : Vinyl
g e n r e : Ambient/Drone
r l s. d a t e : Jul/2011
t r a c k s : 06
b i t r a t e : VBRkbps
s i z e : 64,8 MB
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Amidst drone culture, the word "prolific" has little meaning.
With one-take improvisations the norm and cassette labels once
again blossoming, releasing five-plus albums per year is far
from uncommon for such musicians. So when I say that Sean
McCann releases music at a Mozart-like pace, I realize that
much impact is lost. But what might surprise is both how
consistently excellent McCann's music is and how he manages to
improve with each release.
While Sean's orchestration has varied from banjo and viola to
synthesizer throughout his catalog, what sets his newest
material apart, especially The Capital, is how meticulously
crafted the arrangements are. Although much of McCann's work
is composed, the density of The Capital is both baffling and
refreshing for someone even nominally associated with a style
of music that features hasty improvisations.
Comprising six tracks, The Capital presents two distinct
themes separated by the sides of the LP. The A-side is split
into four movements, each focusing on, if not entirely derived
of, electronic components. Each track is laden with an
unbridled exuberance, barely capable of containing its
elation, often bubbling over into an explosion of synthesized
warmth. The opener "Aerial Sapphire Show" slowly builds during
the course of seven minutes into an overwhelming wave of
thick, colorful drones. With each passing second of "Aerial
Sapphire Show," the tethers that bind McCann's enthusiasm
slowly loosen, finally unbuckling into a joyful sound near the
track's conclusion. Similarly, the low-key "Unfolding Angels"
is succeeded by "Star Change's" outcry of eager voices, a
synthetic choir ù a trembling soprano atop a rich, tonal sea
of altos.
Maintaining many of the constructs of the first side, side B
introduces McCann's dual acoustic self. An unassuming plucked
banjo commences things on "This Was Nearly Mine." A viola,
violin, piano, electric guitar, and synthesizer layer with the
introductory instrument, bearing a harmonious cohabitation of
the organic and inorganic. Near the track's conclusion, this
synthesis morphs into a shimmering drone awash an arpeggiated
piano. The side's other number, "Swoon," is more subdued
though still equally as compelling. The vocal simulations
return, this time via acoustic string instruments. Such
voice-like manifestations for these instruments are
commonplace in classical music, yet their presence on The
Capital is unexpected and remarkably personifying.
While much of drone isn't inhuman per se, McCann's vivre found
in The Capital makes most music sound sterile by comparison.
The record's humanity and joy ù I'm guessing McCann's own ù is
projective and uplifting. Not just an excellent record, The
Capital is a testament to the euphoria of existence.
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01-Aerial Sapphire Show [07:36]
02-The Vanilla Maiden [04:21]
03-Unfolding Angels [02:31]
04-Star Change [02:52]
05-This Was Nearly Mine [09:18]
06-Swoon [09:46]
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36:24 min