The band that headlined at the Rock & Roll Hotel on Saturday night calls itself Warpaint and plays music rooted in late-'70s post-punk. Like most other contemporary post-punk revivalists, however, this all-female Los Angeles quartet has divested the style's fury. The group's 70-minute set was occasionally raucous and frequently sultry, but far from warlike.
What Warpaint derives from such precursors as the Slits, Television and Talking Heads is its aural spaciousness and iced-down approach to reggae, soul and Afropop. The prominent bass and scratchy guitar of songs such as "Undertow'' offered funk's timbres without its swagger; the encore, a semi-original titled "Billie Holiday,'' took some lyrics from "My Guy,'' Mary Wells's 1964 hit, but none of its drive. Rather than the immediacy of classic Motown, Warpaint specializes in the distant and the dreamy - but with a potent rhythm section to keep the wispy riffs from floating away.
Democratically, the group spread across the stage, with all four musicians clearly visible. Singer-guitarists Theresa Wayman and Emily Kokal flanked drummer Stella Mozgawa (who sounded more assured than on the band's debut album, "The Fool'') and bassist Jenny Lee Lindberg. Although sometimes two or more members sang together, often only one musical element was highlighted. Pieces of the sound would drop out, and Wayman and Kokal rarely played guitar at the same time.
Assisted by generous servings of reverb, this skeletal style didn't sound thin. And the sprawling, unpredictable structures endowed even the lesser material with an intriguing tension. But Warpaint's skill at dismantling songs wasn't matched by its ability to put them back together. The climactic "Set Your Arms Down'' worked best, building in a rollicking crescendo before gradually receding to vapor. A few more such payoffs would have enhanced a show where the emphasis on supple rhythms and shifting forms just might have been mistaken for a lack of memorable tunes.
- Mark Jenkins
21st Century Consort
Maybe it's not too surprising that we're fascinated by water - we're mostly made up of the stuff, after all - and composers in particular have always been drawn to it. Perhaps that's because water is so much like music: constantly in motion, with profound depths and astounding power under a surface of infinite variety. Whatever the reason, water is still inspiring some of the most interesting music of our time, as the 21st Century Consort demonstrated in a remarkable concert titled "Unruly Landscapes," at the American Art Museum on Saturday.
Loosely linked to "The Pond," an ongoing exhibit of photographs by John Gossage, the program opened with "The Stream Flows" for solo violin, by the Chinese American composer Bright Sheng. It was likable enough, if traditional Chinese melodies tarted up in a modern idiom float your boat. Much more satisfying was David Froom's Piano Trio No. 2, "Grenzen" - a piece so full of life that it almost bursts out of its skin - which received a spectacularly energetic and focused performance from Elisabeth Adkins on violin, Rachel Young on cello and Lisa Emenheiser at the piano.
Emenheiser is so little that you half expect her to be blown away by the first strong breeze, but she brought volcanic power to Alan Mandel's "Steps to Mount Olympus," whose title sums up its outsize gestures and almost romantic thundering. Far more involving was Emenheiser's reading of "Thoreau," the last movement of Charles Ives's "Concord" sonata. Not every pianist can make genuine sense of this confounding work, but Emenheiser infused it with delicate, ephemeral poetry; even Ives would have been impressed.
The real high points of the evening, though, were two gorgeous works by West Coast composer Donald Crockett. There's a great naturalness and effortlessness in Crockett's writing, and "to be sung on the water" - a hymnlike duet performed by violinist Adkins, with Abigail Evans on viola - had a kind of distant, otherworldly glow, like nymphs singing from some underwater realm. His Horn Quintet, "La Barca" (with Laurel Ohlson on horn), was far closer to the surface, but no less beautiful - a work of relentless inventiveness from a composer we should hear more of.
- Stephen Brookes
Turtle Island Quartet
At 25, the Turtle Island Quartet exists in a constant state of renewal. Its founding members, violinist David Balakrishnan and cellist Mark Summer, welcome young second violinists and violists who are attracted by the sort of technical and improvisational opportunities the standard classical repertoire doesn't offer. They bring new ideas, new music and amazing skills to the group, stay several years and then move on.
The quartet's Silver Anniversary Celebration at the George Mason University Center for the Arts on Saturday, for instance, gave its newest member, violist Jeremy Kittel, a terrific showcase for some of his stuff - a soul-searing blues cry in the opening arrangement of Jimi Hendrix's "Have You Ever Been"; a delicate interweaving with two guest players, pianist Cyrus Chestnut and guitarist Mike Marshall, in a jazz version of "Angels We Have Heard on High"; and an enthrallingly intricate improvisation in the group's version of Miles Davis's "Milestones."