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Una Stade — «Music For a Broken Instrument»


Ilmārs Priede

Jazzy choir music with rich content or an all-you-can-eat buffet

Rain’s chill on velvet vinyl? No, instead, it’s a breath of shreds. A marching army or a cycle of centrifuges, no, a capable pedal movement that ventilates the air, from which, quite mystically, a distinct organ point emerges, almost like a revelation from the mist. This is how the first piece of the album unfolds, where Una Stade’s voice freely intertwines in consonances and dissonances, imitating Eastern aesthetics with great ease. With highly controlled vibrato and a very deliberate intonation play, the texture gradually thickens as tension grows – the rhythm section joins in, and perhaps the most significant feature of the album – the ‘Latvian Voices’ choir. Amidst the rich orchestration, a melodic recitative breaks free with thoughtful rhythm and echoes, a palpably melancholic and direct message.

Initially, I thought this first piece would serve as the hallmark of the album, but a very diverse range of artistry was revealed during the listening process. From poignant drama to a charming waltz-ballad, Una Stade demonstrates a broad emotional spectrum that reveals both familiar and personal revelations in life and music. Musical influences are worn on the sleeves – jazz, Latvian folk music, genre-specific choral music, and their characteristic arrangement styles. Cross-sections of the composition are proportional – lyrical poetry, motive-driven piano play, and platform moments for the choir. These elements are intertwined with the author’s voice, especially dynamically rising in powerful choruses that leave the most lasting impressions.

The album is adorned with various unexpected turns, like the tender waltz «Last Song,» which is perhaps the most radio-friendly piece with one of the most enduringly melodic and lyrical choruses. Alongside this piece, a bit more traditional jazz values are imbibed in «Blow, Wind, Blow,» which reveals a bit more of jazz music language and improvisation. The piece «Aisle» is one of the album’s most interesting deviations. I can only describe this piece, which is mainly lyrical in content, as the «Being a God Simulator 2000,» where the listener’s consciousness is enveloped in an evangelical array of human perspectives, thoughts, and hopes that, after a brief moment, dissolve into the sharp white noise of prayer, unable to grasp the density of endless prayers.

My ears are less pricked by the little vignettes of piano music that offer a contrast but don’t quite find their place next to the massive heroes of the album – «Beginning of the End» and «Roots,» where all the album’s strongest elements converge in one place. This isn’t to say that everything else has less artistic value. All the pieces are tied together with thoughtful and coordinated composition and careful vocal work, which will serve as a delicacy for enthusiasts even in the dynamically quieter moments of the album. Analyzing the album in the context of jazz music, it’s evident where its trump cards are hidden.

This album is structured like a honeycomb, with small vignettes of mostly vocal pieces and instrumental piano music. Although this adds some intrigue to the listening experience, at times, it feels like the material lacks a common thread that would give the album a specific identity. Only a few pieces see the intentions’ fruition in the first track. This is not a protest against the diversity, which is the strength and main feature of this album, but rather a desire for a more uniform aesthetic that helps the material flow and allows the listener to move through the album willingly, without the help of skip or shuffle. Beautifully chosen words in English are accompanied by broad soundscapes and emphasized diction, which conveys the author’s nationality, is not good or bad, and is one of the trademarks.

The album’s genetic code is powerful and serves as a strong backbone for Una Stade’s debut. A stronger common denominator is conjured through an ideological distillation process for future creativity.

4/5