Classical music has a long history of being intense; The Rite of Spring nearly caused a riot on its debut. But “intense,” “aggressive,” and “forceful” are probably not words many people think of when thinking of music for strings today. Enter Nonsemble, a chamber orchestra from Australia. Their Spaceship Earth EP wrecks expectations left and right, from their inclusion of kit drums to their revolving cast of vocalists to their powerful arrangements.
“Bricks” moves from an oddly syncopated piano line supported by kit drums to a roaring high point with dramatic strings and Shem Allen belting out “Monsters!” at the top of his lungs. “Trucksea” also gets pretty wild at its conclusion. “Sovereign Murders” (not your grandpa’s classical music titles here) includes speedy violin bowing and abstract, almost math-rock patterns for the rest of the strings. When a hip-hop kit beat comes in, the song is something completely other: Nonsemble has transcended the labels of chamber orchestra and indie-rock altogether.
Even when Nonsemble chooses to conform to the traditional understanding of chamber-pop with rapidfire pizzicato notes and delicate melodies (“Sonambulists”), they do with such fervor and panache that it doesn’t feel like anything else happening. If you’re into strings, adventurous listening, or Joanna Newsom-style re-imagining of what indie-rock means, Spaceship Earth should be on your radar.
X and the Ys is a fluid concept with two poles: “X writes everything but has played with the same backing band for years and is giving them some love” on one end and “this is really one band that writes all the songs together from the ground up” on the other. Every X and the Ys is constantly in the process of moving toward one pole and away from the other. Jonas Friddle and the Majority is moving closer to the “one band” concept, which is probably partly why their latest record is a self-titled one. As a result of this full-band focus, Jonas Friddle and the Majority is a big record, full of horns, strings, vocalists, and fun.
Another tip-off that The Majority had a much bigger role on this record than in Friddle’s previous work: they re-record two of Friddle’s tunes from the last double-album. “Belle de Louisville” and “String to a Bell” include much more of the band, letting Friddle’s banjo songwriting become the foundation instead of the focus. “String to a Bell” does this slowly, bringing in parts incrementally before opening up into a horns/strings/bass/drums jam (completely with a Mountain Goats-esque “whoo!” from Friddle). The results sound like a more jovial version of The Collection. “Belle de Lousville” integrates the band more thoroughly into a dense, unified arrangement throughout (although Friddle can’t resist a big “whoa!” here either–gosh, it must be fun watching this show live).
Elsewhere The Majority pulls back from Friddle’s role as “troubadour with some people backing him” and embraces the idea of a full-band outfit. The rhythmic “Hook and Harness” sounds like a slightly more country-rock version of a Illinois-era Sufjan track. “Music Wherever I Go” and single “Sugar Moon” are giddy pop-folk-country tunes that also have some Sufjan-esque wide-eyed wonder running through them. (“Sugar Moon” has a charming percussion joke in it.) “Live in This World” sounds like The Majority wandered onto the set of a Western and was asked to make a brass-heavy Buddy Cop Sitcom theme song for it. (No apologies for that explanation.) Right when you get used to their giddy fusions, “And Your Bird Can Sing” is just a country song. Sort of. I can say for sure that “Corina’s Lullaby” is a tender lullaby.
All throughout Jonas Friddle and the Majority, horns, strings, backing vocalists, percussion, and probably the kitchen sink are melded together into jubilant, exciting songs. It’s very different than Friddle’s previous work, so those expecting more of his troubadour work should be warned that this is a full band now, and they do full band things. If you’re on board for a wild, fun ride, then you shouldn’t have any concerns or worries as The Majority pulls through the curves and loops of its rollercoaster.