Too Late In The Wrong Rain

by David Newlyn

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Random Pieces II - 4 Track Cassette Recordings, New Age, Apparitions I and II, Film Stills, Church Fires, Systems and Systems, The Rain Is Making Me Rust (A Compilation), Transparencies, and 17 more. , and , .

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1.	Doubt (free) 03:34	download
2.	Erasing The Past 05:57
3.	Fifteen Going By (free) 02:36	download
4.	Hospitals In Winter 15:17
5.	Hindsight 03:03
6.	Grave 02:34
7.	1908 (Detail) 02:13

about

"In Soyeon Lee’s recording for piano of Domenico Scarlatti’s ‘Sonata in Bminor (K87)’, the notes become swirls of snowflakes blown about by the wind…

Baroque music devotees criticised the series of Scarlatti recordings from which Lee’s interpretation is taken for choosing to use the more Romantic piano rather than the harpsichord, the instrument for which the sonatas would have originally been written. I never really understood the complaint until I visited Madrid, where Scarlatti wrote most of the sonatas under the patronage of Queen Maria Bárbara. There I understood pretty quickly that this was harpsichord country: there was something about the light and the tones of the landscape that matched the instrument’s bright, ringing sound. The piano, I decided, was a northern instrument, more suited to greyer climes, to rain and snow. Perhaps this is one reason why the history of piano music is dominated by the Germans, the Russians, and the French.

The piano plays a key role in David Newlyn’s “Too Late In The Wrong Rain”. But why this word “wrong”, with its connotations of being in the wrong place, of being out-of-place, of dis/misplacement? How can rain be the “wrong rain”? Is Newlyn’s piano in the “wrong” place, its three delicate sonatas scattered throughout a short album of ambient/electroacoustic soundscapes and field recordings? Is the piano sonata an anachronism, no longer at home in an age of the guitar and electronics? Even the sonatas’ individual notes often seem scattered, like leaves in a gale (or like swirls of snowflakes). The sense of presence created by the soundscapes (most effective in the album’s longest track Hospitals in Winter) is disrupted and unsettled by wandering ivory figurations that are always pointing somewhere else. A piano in Spain. But it rains there too, so I’m told.

Personally, I’m glad of the disruption: the use of piano marks Newlyn out from much of the rest of the ambient/electroacoustic crowd, and the inventiveness and skill with which it is used is a notch or two above the hummable little ditties found gracing film and TV soundtracks. Who would have thought that the piano, that most familiar Western living room instrument, could be turned into a cipher of strangeness, of elsewhereness? Newlyn manages it here, and the results are oddly moving."

- Review by Nathan Thomas for Fluid Radio

Discography : www.discogs.com/artist/David+Newlyn

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released January 1, 2011

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