Anthony Vine - Sound Spring

A Closer Listen

Sound Spring is the redefinition of a soundtrack, as a director’s cut is the redefinition of a movie.  Anthony Vine composed the original score to Catalina’s film of the same name, but on this release, the artist offers an expanded version that includes layers and outtakes that are not heard in the film; just as the interviews from the film are not heard on the album.  (We’d love a third version that includes both.)

Yellow Springs, Ohio is the setting of the film and the source of the field recordings.  As equal partners with their environment, the five performers were asked to produce music that meshed with the sounds of water, traffic, razors and more.  But perhaps the most telling piece is found in the center of the album: “Projector,” which recalls the old, unspooling film reels in their majestic theatrical settings.  We doubt that the movie was screened on equipment this loud, but that’s not the point; the performers tackle this sound with a cacophony all their own. In “Barber,” the initial drone is introduced as that of a generator, followed by the zip of a bag, the daxophone and the trombone attempting to harmonize with the generator’s tone.

“Spring” is one of the more intriguing titles, as it seems to suggest a season; but the title Sound Spring implies something more.  The percussion rattles about like stones in a stream, while water sounds are heard beneath.  Vine writes that each track is “a scene of its own, evoking characters and places from traces of the film” (italics added).  Without the images, one receives the watery ending of “Spring” as the musicians themselves, playing around the Yellow Springs.  Ironically, opener “Karen” sounds most like the season of spring, with birds singing and violin playing as passengers disembark from mass transit.  The conversation flows around the music while the music flows around the conversation.

“Donna” includes what can only be described as improvisational bicycle, a unique sound in that neither the bicycle nor the percussion follow a linear path; instead, like the wheels, they spin in complementary circles as the trombone offers low, grounding notes.  “Talon” makes work sound like fun, although it’s a far cry from the Seven Dwarves: a reminder that music can be heard in everything.  The impressionistic closer, “Reflections,” places the Yellow Springs front and center, treating it like the main character of both album and film.  While one cannot see the images while listening to the expanded score, one can imagine the location, and the ways in which people are shaped by place.  The CD is both prequel and sequel, released second, but providing a valuable backstory.  While complementary, Vine’s new project also stands on its own.  (Richard Allen)