At the start of last month, I wrote a piece on Brass Banding (the radio series, but also the wider concept) and along the way went down a bit of a rabbit hole listening to the back catalogue of it’s presenter Hannah Peel. The album that I’m writing about today - and that has been on heavy rotation all month - fit that theme admirably as it’s a symphonic piece written for analogue synthesisers and brass band. It’s also absolutely glorious.
Mary Casio: Journey to Cassiopeia is a seven movement work describing an imagined journey by - and I’m just going to quote the press release here - “an unknown, elderly, pioneering, electronic musical stargazer and her lifelong dream to leave her terraced home in the mining town of Barnsley, South Yorkshire, to see Cassiopeia for herself”. Apparently inspired by the quote that “we have a hundred billion neurons in our brains, as many as there are stars in the sky”. In my research adventures looking into the origins and inspirations for the album, I read a review that described it as being like a team up between the Flaming Lips and the Brighouse and Rastrick Band, and that really does hit the nail on the head. (While last month’s album made me feel that I’d have loved it substantially more if I’d encountered it twenty years ago, this is an album that I love now and yet still dearly want to press onto my seventeen year old self because it would blow her mind.) It’s a symphony for analogue synth and brass band -
Tubular Brass to give them their due - and achieves that rare thing of balancing both in a way that shows affection and respect for both elements while combining and pushing them into something greater than a sum of their parts.
As I’ve often noted in my
Tectonics reviews, even when writing for orchestra, electronic and modern classical composers lean heavily on strings and percussion and often ignore the more experimental potential of the brass section - if they even know what to do with it in the first place, sometimes they miss it out entirely. One of my favourite things about
Public Service Broadcasting’s oeuvre is that they know what to do with a brass section - to the extent that when they do live shows, if there’s any non-electric instruments it’s usually a bit of brass. (The do love a wee wind trio of trumpet, trombone and saxophone.) But that’s generally the exception rather than the rule, it’s rare to get something that really explores the joys of brass and syths working together to build a greater whole. It’s incredibly cinematic, music fit for wider screen vistas or a planetarium show. The electronics are dreamy and gorgeous, but it’s the beautifully layered brass that really opens us up to the scale of what’s being depicted. It’s also a piece composed by someone who loves brass band music in it’s own right, who understands how epic and transporting brass - specifically this was written for a colliery brass band rather than an orchestra section, it’s a very specific sound - can be while being at the same time such a grounding and physically solid presence. There’s a gorgeous solo - is it a flugel horn or a cornet I puzzled for ages, the reason I couldn’t identify it is became it is in fact a synth! - in the second movement -
Sunrise Through The Dusty Nebula - a segment that evokes both a brass band playing in a village hall, dust motes dancing in shafts of sunlight from high windows, and cinematic shots from the window of the ISS of the sun rising over the Earth amid the darkness of space. This is music for lying in the grass on a pitch black night in the middle of nowhere watching the stars wheel overhead.
The run time is just shy of thirty seven minutes, and if no-one uses it as the soundtrack to a short science-fiction film - ideally animated, perhaps heavy on the homage to both Wallace & Gromit and the works of Raymond Briggs and Oliver Postgate - then they’re missing a trick. (Now I want to use it to re-score
A Grand Day Out…)
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sholio
