Lost Tribe Sound sought to expose Alder & Ash to a greater audience. The first of the two releases they put out was “Psalms for the Sunder”. This originally came out self released in 2016. Lost Tribe Sound decided to re-issue in physical form alongside the latest album “Clutched in the Maw of the World”.

The label had the following to say: “Psalms for the Sunder thrives in opposing extremes. As the title suggests, Psalms for the Sunder is a study of downfall and collapse. The work explores the boundaries, the desolation and despair, among the edges of things come undone. In that tension and space it finds not only cacophony, violence and decay, but also bittersweetness and calm.”

Alder & Ash is Adrian Copeland from Montreal, Quebec, Canada and is a solo cellist and only uses Cello to compose these pieces. He uses such techniques as legato (“musical notes are played smoothly and connected. That is, the player transitions from note to note with no intervening silence”), pizzicato (plucking of the strings), but also extended techniques like percussion against various parts of the cello, scordatura (detuning strings), string scratching, col legno (striking strings with bow) and ponticello (metallic and shrill overtones). Making full use of the instrument results in the music made by Alder and Ash.

“A Prelude To The Decline” slow drones are accompanied by minimal picking before the mournful quality of the cello cuts through with a melodic touch. The main cello piece alternates in tone and intensity giving the track both the mournful part, but also an angry intensity. The range of tones gives the cello a vocal-like feel in that it is conveying an unsung narrative.

“At Night in the Slaughterhouse” a distorted beat and slapping of the body of the instrument give the track its percussive feel while layers of cello combine to give both rhythm and lead parts. The press release gives mention of Dirty Three and Bad Seed’s Warren Ellis violin playing and this comes through early in this track with similar frantic playing. Just when you feel the track is settling down, the distorted percussion comes thumping back in industrial style while affected cello screeches above it roaring in intensity until the more emotive sections take control.

“Black Salt” starts with occasional strumming of the cello as if the player or person is finding their feet or rhythm before the percussive part starts to form something more. The strumming picks up speed, joined by buzzsaw sounds cutting left to right and some distant distorted rumble sounds. The melodic cello part that becomes the central focus lends a modern classic feel which is at odds with its more rustic beginning. After an ebb the strumming starts up again with both the distorted rumble sounds and a percussive beat. After a short period it fades to low-level drones and cutting sounds while the strumming slowly fades to the end.

“Seen Through the Cedar Smoke” multi layered picking and percussion are joined by the briefest bursts of sounds similar to that of a horn. The picking rhythmically becomes dense and woven and is covered with stabs of sound. The affected cello comes back into play sounding like the guitar sounds of Big Black – like distorted that it removes the original sound of the instrument. The quiet/loud dynamic comes into play when elements drop out and the picking starts up again, with both a feature element and the rhythmic base. There is quite a post industrial feel to the track, almost like post war desolation and decay.

“Ikejime” bizarrely the title refers of a method of paralyzing fish to preserve the meat. I am not sure what preservation is going on in this track but it has a jaunty rhythm over which slow bowed cello hangs over utilizing the screech noises that can be apparent with the cello. There are several layers the recording with each holding its own position from rhythm to melodic parts , those that are designed to add color, while others become the lead and yet others add the emotive depth to the pieces. All the levels don’t make it claustrophobic in any way and they are complimentary.

“Children of Gomorrah” has an ominous bluest feel with the starting percussive bit and distorted strings before sad sections are added and the track returns to the distortion of earlier tracks and has a vibe of seedyness as if it would suit as a soundtrack piece for show like “Peaky Blinders” or something where there is little light, grime, decay, etc….

“Triage” acoustic strumming with a drone that is long and emotive that slowly evolves, with the rhythm staying the same pace before dropping out altogether and allowing the drone to be accompanied by Warren Ellis style strings which posses an Americana feel that is almost improv like, before the strumming re-emerges. With Triage meaning to assess the importance of things, this could be represented in the layers of the piece and the way they build up and how they are structured.

On “Psalms for the Sunder” Alder & Ash utilize their chosen instrument to the fullest and create music that cuts through genres such as Drone, Americana, Industrial and others without being bogged down in one set genre. The music contained could easily be featured on a soundtrack or just enjoyed with a pair of headphones on.

The last physical copies are still available now.

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