LP Review: Joseph Branciforte & Theo Bleckmann - LP2

Joseph Branciforte & Theo Bleckmann

LP 2

(Greyfade) www.greyfade.com

The cover of LP2 recalls the stark artwork on records from Factory, the UK label whose heyday occurred around the late '70s/early '80s with bands like Joy Division or A Certain Ratio. A band of one-inch lines in various colors runs the length of the cover, towards the left; the catalog number and release date appear on the front in the lower right corner, next to what looks like a UPC code but is actually a set of bars with Greyfade website beneath it. The album title appears sideways, opposite the bands of color.

The label might share a sense of independence with Factory, but Greyfade is no post-punk imprint. It specializes in "processed-based music, electronic & acoustic minimalism, alternate tuning systems and algorithmic composition." Vocalist Theo Bleckmann has become known in jazz circles with  performances that can be either soothing or unsettling as a leader and collaborator (with groups like the brass quartet Westerlies, drummer John Hollenbeck and composer Meredith Monk among others). Joseph Branciforte has worked as an engineer and producer for numerous musicians (Tim Berne, Ben Monder, Steve Lehman) in addition to recording his own music. LP2 is the second effort by this duo, following LP1 (2019). 

While their previous collaboration was purely spontaneous, the duo took liberties in the studio this time, utilizing "prompts" to guide the music, and overdubbing more instruments. The preparation serves to blur lines between improvisation and composition, which gets further extended by the works themselves when heard in analogue form. The record is pressed on clear vinyl, making it hard to discern the breaks between tracks. All eight have numerical titles ("1.13," "10.11.5") with no time durations listed for any of them. The point, seemingly: forget typical conventions and just listen.

Branciforte and Bleckmann immediately create a rich sound on "1.13" with vocals that feel awash in subterranean reverberations, like an angel singing at the far end of a subway platform. While this happens, the sounds of the city (actually Branciforte) provide a soothing backdrop to the voice. At other times, Branciforte's modular keyboards fold in so well with Bleckmann's voice that distinguishing one from the other can be a challenge. The ten-minute "11.15" unfolds like a dream soundtrack with several voices, high and low, adding to the non-verbal conversation while the toll of an electronic bell sets a gentle tempo.

The second side of the album brings to mind some David Bowie-Brian Eno collaborations, specifically the second half of the "Heroes" album, in which the music unfolds slowly, setting a scene. Different textures pop up, with voices coming and going. It can also feel like Bleckmann's different parts have all been part of the soundscape the entire time, and just coming into clarity at various moments. Therein lies the depth of this music. 

Along with the longer tracks, the album includes a few pieces that last just over a minute, offering quick bites of static, choirs of voices or percussive clatter. A few even add what amounts to surface noise, in case the pristine vinyl might need it. The brevity of these pieces doesn't give the music time to get too abrasive; it acts more like an interlude between the bigger works.