Slipping quietly into a gentile, piano-driven, prelude triplet isn’t all that’s presented within the latest musical amalgamation from WW Records.
Sultry ivories dance the familiar classical seance of old; spacious, intricately woven feelings of self reflection and silver lining uplift – though as gorgeous as they are I feel a true listener as opposed to critic – my musical experiences and education falter when faced with arrangements beyond the confines of synchronised electronics.
This brilliant collection of 3 Preludes were written as a follow up to composer, Llywelyn ap Myrddin’s, debut release on WW Records, Sakura. Preludes is another exhilarating collaboration between Llywelyn and Steinway Artist, Aisa Ijiri, who’s transfixing Piano performances are unforgettable. Recorded at Steinway Hall, London, on their Steinway D model piano, this record is marked with class.
WW Records are well aware of their niche approach – eclectic listening – and instead of trusting in fans to simply sit back and mull over this classical offering they fill any potentially confused void by coupling each prelude with a remix, each offering a more familiar setting applicable with listeners, such as myself, who are eager to learn more about the music that inspired music today. I don’t whole-heartedly believe that WW Records would be so coy as to pepper what is already an incredible string of keyed expertise with a sporadic splurge of club-friendly beats just to make the release ‘marketable’ – rather, each remix plays artistic gateway for production experimentation and reinvention – there is absolutely no ‘splurge’ here – though I do believe they help in upping the accessibility.
Each edit acts in two parts: on their own two feet, singular productions with their own merits and application – the two label owners provide polar-opposite breaks renditions a piece; Guy Wampa’s lounge-like remix of Shinjuku and Old Man D’s rumbling, static-rasping, electronica rework of The Cave – where the illusive and bizarre Kidkanevil rocks up to spread a digital skip through a trip-hop infused corale of Yoko’s Car.
The second part of remix-addition value comes in their ‘bridge the gap’ nature – like outstretched arms of invitation from fans [of both alternative electronics and the original composition style] to those looking in with acceptable caution; “I’m an electronics fan, is it Okay to like Classical?” – yes my friends, of course it is.
Preludes will be available on the 11th of this month – watch this space