Lubomyr Melnyk: Rivers and Streams

Ukrainian pianist and composer Lubomyr Melnyk has spent his career developing a method of performance called "continuous music." In pieces that stretch anywhere from 10 minutes to nearly an hour in length, Melnyk delivers a sustained flurry of high-speed arpeggiated notes. By holding down the sustain pedal, he allows tones to ring out indefinitely, creating droning ambience and phantom melodies.

The pursuit of continuous music has brought Melnyk impressive chops—his website boasts that he is the fastest pianist in the world—but little in the way of critical recognition or financial reward. In interviews, he has expressed some disappointment at falling through the music industry's cracks, his playing too unorthodox for the classical establishment and too traditional for the experimental music community. However, in the last several years, Melnyk has begun to connect with a larger audience through releases on small labels like Unseen Worlds and Erased Tapes, which concentrate on modern classical and electronic music.

Rivers and Streams is Melnyk's third release for Erased Tapes. In execution, it's not too different from his previous works for the label. The music is busy and technique-intensive, but tuneful and meditative. As Melnyk plays, his melodies meld together, shifting in tone and volume. Because he allows the piano to resonate, the sound blurs, turning concise and complex patterns into aural fog. According to the composer, the album is a meditation on water—not a huge stretch given the steady, trickling, ambient nature of Melnyk's style. The performances are enhanced via co-production from label founder Robert Raths and London-based composer, Jamie Perera, who modestly augment Melnyk's arrangements with guitar.

Informed by the work of American minimalists like Steve Reich and Terry Riley, Melnyk's music draws on repetition and also a certain degree of impromptu inspiration. However, those composers—Riley in particular—often employed alternate tunings and distinctive harmonies that helped to distance their compositions from Western classical music. Melnyk's music is just as expansive, but more conservative in its approach to harmony. He's more overtly romantic. Listening to the plaintive minor key melodies on "Parasol", you can understand how, for some, the pianist's sensibility might have crossed the sometimes-thin line that divides minimalist classical and new age.

However, this is less of a liability than it might have been in the past. New age is no longer the reviled genre it once was. And there are other, more appropriate modern parallels. Melnyk's shifting chords and rising crescendos will click easily for those who follow post-rock bands like Godspeed You! Black Emperor or Explosions in the Sky. And in continuous playing, sustained repetition, and simple harmony you can also hear him as a more organic cousin to the burbling synthesizer music of '70s groups like Tangerine Dream or Ashra. This is not machine music, though. It's very human—serenity delivered through sustained concentration and ecstatic energy, via a lifetime of practice and perfection rather than the twist of a knob.

Zora Jones: 100 Ladies EP

 Zora Jones has described 2010 as her year zero. She saw DJ Rashad spin for the first time at a party in Montreal, where it was pretty much everyone's first encounter with footwork in a club setting. She and her friends ended up spending a week with the Chicago DJ, and he gave them a batch of tracks he'd produced with his Ghettoteknitianz crew. It opened up a whole new world for her. "That folder is still one of the main folders I go to for inspiration," she told The Fader. "Those tracks are so crisp to me and so influential. 2010 was the year for me."

You can hear the late Rashad's influence on Jones' debut EP, 100 Ladies—or at least, you can deduce it. Many of her tracks move at 160 BPM, smack in the middle of footwork's sweet spot. But in the past five years, Jones has also established her own sound, one that's indebted to footwork (and also to grime), but irreducible to either of those genres. It's several steps removed—and that's a direct result of the work that she's put in.

The title of the Austrian-born, Barcelona-based producer's EP is a reference to a pact that she made with herself: to make 100 tracks before she released anything. This isn't the first thing she has unveiled; there have been collaborations with Sinjin Hawke and DJ Taye on FractalFantasy (the imprint she runs with Hawke, which began life as an online outlet for audiovisual productions), and she's posted the odd solo track to her SoundCloud account. But this is her first extended statement, and the singularity of her vision is immediately apparent.

Aside from the occasional anchoring 808 kick, she favors thin, silvery sounds: brittle rimshots, tinny hi-hats, and 808 toms tuned toward their upper limits. Her main instrument is the voice—resampled, stacked in dizzying fifths, pitched up near dog-whistle frequency, and painted on in bright, loopy brushstrokes. Put together, these elements combine to suggest club music injected with helium and sent bobbing high overhead.

Of the album's seven tracks, only two come anywhere close to resembling established forms. "Zui", with its shuddering 808 patterns and stuttering monosyllables, wears its footwork influences proudly on its sleeve, and the lurching cadence of "Too Many Tears" sounds like an outgrowth of the "weightless" style of grime favored by Mumdance, Rabit, and Murlo. Again, though, her wordless vocal melodies stand proudly apart; they're eerie, shapeshifting things, part violin and part warbling bird, and their effect is spellbinding.

The EP is bookended by its best tracks. The footwork-tempo closer "First Light" pumps away like Philip Glass rearranged for tin whistle, Gameboy, and chipmunk, while the opening "Oh Boy" forsakes drums entirely; it's just wordless vocal trills pitched up into icy configurations accompanied by the hollow hum of whirly tubes. Despite their novelty, both songs remain unusually moving; for all the flyaway nature of her sounds, her compositions carry real emotional weight. They offer the equivalent of a solid musical form being melted down and channeled into tiny, sidewinding rivulets; it will be fascinating to see where these streams carry her next.

Underworld: Second Toughest in the Infants

At this point it seems that Underworld are remembered, at least by casual observers, as the rave act most like a rock band. There's nothing really harmful about this interpretation, but acting like a rock band—a euphemism for "had a frontman"—isn't really what separated Underworld from their peers. After all, the Prodigy and the Chemical Brothers both worked in the album format to great effect, and, like Underworld, their live shows and general demeanor had more in common with Oasis than with, say, Spiral Tribe. In fact, what truly makes Underworld unique, and what coincidentally most closely aligns them with rock bands, is that they took themselves really seriously; their ambitions leaned to the serious and important. Unlike most people—lots of ravers included—they thought these things could be achieved using the rave template.

Second Toughest in the Infants is the band's second, spectacular attempt at making big, important rave music, and their second with young fusionist DJ Darren Emerson helping steer the ship (frontman Karl Hyde and Rick Smith had been making music, in one style or another, since the early '80s). It was reissued for its 20th anniversary this November, in both two- and four-CD editions, remastered and bundled with exclusive and/or unreleased extras. You can see the band posing in the album title, a funny little comment made by Smith's nephew that conveniently reads like poetic word soup. You see this, probably, before you realize the album opens with a 16-minute, three-part suite entitled "Juanita : Kiteless : To Dream of Love" and follows that with a 15-minute, two-part suite entitled "Banstyle/Sappys Curry". There it is, comrades: a heaping helping of Big, Important Music. If you want funny voices and funny haircuts, the Prodigy are in the tent to the left.

The great thing about mid-'90s Underworld is they made this beat-poetry-cum-rave-anthem splice work against the odds. Their secret was to act as if Hyde was not a vocalist at all but rather a particularly charismatic sampler: spitting out short, repetitive phrases that were afforded little more purchase on a track's mix than any other melodic curlicue. As an album, and as disc one of this reissue, Second Toughest holds up marvelously, dominated by the shapeshifting opening tracks but also featuring fan-favorite "Confusion the Waitress" and the stupefying "Pearl's Girl", perhaps the fist-pumping-est epic in a discography chockablock with them. "Stagger", the tormented kosmische saga that closes the affair, betrays the band's album-centric aspirations and beats Thom Yorke to the meandering electro-ballad by a decade.

The band's profile raised considerably with Second Toughest, which roughly coincided with the release of Trainspotting, the film making prominent use of non-album track "Born Slippy.NUXX". The track's popularity, and its association with the movie, perhaps unfairly tethers the band's sound to the '90s, though there's some comfort in remembering a time when music this loopy and progressive could dominate (European) airwaves.

Disc two reproduces all of the exclusive material from the absurdly good Pearl's Girl EP—five long pieces over 35 minutes that would stand as most band's best work even before adding the worthy reworks of the title track—and adds "Born Slippy (Instrumental Version)", which functionally has almost nothing to do with the more famous NUXX version, as well as "Born Slippy.Nuxx (Deep Pan)", an intriguing but ultimately boring remix.

Disc three offers a full slate of unreleased material, some of which ("D+B Thing", "Techno Thang", "D'Arbly St") gives away its throwaway nature by its title. "D'Arbly", meanwhile is seven minutes of downtempo lounge noodling. Only an extra version of "Pearl's" and "Bloody 1", yet another loopy 16-minute epic (Underworld could do no wrong in this format in the mid '90s), rescue this disc. Disc four offers seven (!) different versions of "Born Slippy.NUXX" (often simply titled "Nuxx"), several of them live. The main takeaway here is that you do not, in fact, want Hyde's scintillating vocal melody to continue for the entire runtime, no matter how much you think you love the opening minutes. But the disc also illustrates how much Underworld has in common with a jam band, iterating over long passages, massaging a track into form.

Second Toughest marks the last time Underworld's blend of ferocity, earnestness, and expanse felt transcendent. By the time they returned with Beaucoup Fish in 1998 they seemed more like an institution than a contender. But there's an absolute trove of potent material associated with Second Toughest; lesser bands might've mined this period for two or even three albums. The remasters sound great, and the two-disc version makes exploration reasonable for the unfamiliar, though both the original album and the essential Pearl's Girl EP can be had for a song in your local used bin. For the fanatic, the four-disc version offers a couple of gems and a thorough examination of the genesis of the band's most famous track, i.e. exactly the type of thing you might hope for from a not-explicitly-necessary reissue. Underworld made a point of going deeper, and carrying on for longer, than most bands would dare; they're worthy of a reissue that does the same.