Sophie Hutchings – Becalmed (Review)

The work of the solo pianist has gained momentum of late and certainly within the ambiguous genre that is modern classical music…

Whether it be the emotive vignettes of Goldmund and Akira Kosemura, the improvised notation of Nils Frahm, Hauschka’s prepared piano or the ambivalent work of Chris Abrahams, one could be forgiven for thinking that the piano is an instrument that is at a point of saturation at present. While this is a fair assessment in many respects, there is of course always room for quality and in this instance the debut recording ’Becalmed’ by Sophie Hutchings is a welcome addition to a flooded pool of musicians.

A trained musician since her childhood, Sophie Hutchings’ writing began to take on serious form during her teenage years. Produced in two settings: one in Syndey by Tim Whitten (a long time collaborator with The Necks) and one in New South Wales by Tony Dupe, or Saddleback as he is perhaps better known, ‘Becalmed’ comes courtesy of the Preservation record label.

From the album’s opening track ‘Seventeen’ – a sprawling eleven-minute epic of melodic bliss- it appears clear that Sophie’s music possess a narrative quality similar to that of music scored for film. Her solo compositions underline the quality of her key play, which whilst intimate in construction appear grand and vivid in execution.

Other tracks on the album see her collaborate with family and friends who support her piano play with the addition of cello, violin and percussion. These add a further dimension to the music with tracks like “Sunlight Zone” – whose echoed string play recalls the work of Peter Broderick – or “Falling Sea” which accompanied by drums sounds not to dissimilar to the recent work of Olafur Arnalds.

‘Becalmed’ is certainly a noteworthy debut. It is difficult I feel to come away from this album without drawing comparisons to other contemporary artists. This is not so much a criticism of the artist, but perhaps more a reflection of the sheer volume of pianists of this ilk that are currently performing. Nonetheless, this should not deter one from investing in ‘Becalmed’ as the music provides a strong narrative force, with the listener’s imagination the limit to creating pictures for this filmless score of compositions.

- Review by Josh Atkin for Fluid Radio

Available through Preservation Label
Also through Experimedia

www.myspace.com/goldenbooksmusic
www.preservation.com.au