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PRESS 1 PRESS "The finest products of the minimalist mentality - Reich's ‘Music for 18 Musicians’, Riley’s exquisitely impure undertakings, Glenn Branca's tumultuous The Ascension - rise above the cold consideration of mechanics and draws the listener into the realms of ecstasy. Cadenza is the track in question, a mesmerising feature for two pianos that rise and dip like a tea clipper in a high wind. The effect is breath-taking; it’s superb enough to make me look forward with optimism to future releases. LYNDEN BARBER 1981 : MELODY MAKER “The Amusement is The obvious successor to The Art of Noise in this modern composers forceful dynamic production. A captivating and impressive piece." DAVE HENDERSON : MUSIC WEEK "The best things I heard (at the Huddersfield Festival) were a miniature by James MacMillian and Andrew Poppy's inventively spare and varied Poems and Toccatas” NICHOLAS KENYON : OBSERVER "Noise of industrial labour is submerged in Andrew Poppy's music as tremendous gathering melange of piano then brass and synthesiser, finally electric guitar in great slabs of impersonal, repetitive throbbing sound. A scenario of mixed gestures, solo melancholy and frantic deshabillement.... The Songs of the Clay People remembered by a child, are lost, fleeting renascent in a grey metropolis of granite rooms.... where excitement is provided by music which really did strike me as being of exceptional merit" MICHAEL COVENEY FINANCIAL TIMES "A ritual for three performers, offstage voices and musique concrete. The effect is one of animated hallucination on which Balthus and Francis Bacon might have collaborated: arrogant ascetic, utterly sincere. JOHN PETER : SUNDAY TIMES ‘Uranium Miner s’ "impressively full of emotional shrapnel." PAUL DRIVER : SUNDAY TIMES "His music is consistently trenchant and telling". MEIRION BOWEN : GUARDIAN 2 "The ideal composer to turn Tennessee Williams screen play Baby Doll into an time/space and stasis/movement. Bewitching, beautifully crafted and highly opera would be an American Janacek and Andrew Poppy comes near to it in the best addictive.” moments: strong on atmosphere (a lot of sultry Southern blue notes) and punchily CHRIS BLACKFORD THE WIRE abbreviated in its story-telling." MICHAEL JOHN WHITE : THE INDEPENDENT Poppy first hit the scene as a composer of fierce electronic soundtracks for Impact, the seminal 80's theatre company. Later, a stint as the first classical act "A gift for creating atmosphere the scores virtue lies in the deceptively languid way it signed to Trevor Horn's ZTT label won him an underground pop audience. He can build up an insidious tension." never gained the exposure of a Nyman or a Reich, though, which is a pity, MARTIN HOYLE : THE TIMES because this is a first rank composer, bursting with ideas. TARDIS is a large scale piece, in which an endlessly growing melody is toyed with, split into multiples, " A gripping and unusual evening....not a moment of it is dull and several sequences played against itself in a random canon, and hung in the air to spin gently like a are startling. child's mobile. Time and space are suspended, as chiming, plunking and silk- GERALD KAUFMAN : THE SUNDAY EXPRESS smooth harmonies seem to progress forever upwards. The Doctor himself could be proud of this post post-modern, ambient, slightly kitsch, minimal machine " Poppy was never solely concerned with pure minimalism and he has now music. developed a style of enviable flexibility, fusing a range of so called 'serious' and RICHARD WOLFSON THE DAILY TELEGRAPH 'popular' sources and allowing each to emerge as appropriate. Avalanche Thoughts suggest Andrew Poppy and Julia Bardsley, are those KEITH POTTER: THE TIMES LITERARY SUPPLEMENT dangerous cognitive moments that beckon disaster. Before the audience enters the performance space, we are met with an exhibition of exquisite objects combining “Fulfilling all the Liverpool Philharmonics requirements of new music, Andrew the motifs of books and shoes enveloped in an understated sound installation. The Poppy’s Horn Horn was consistently entertaining as a study in the comparability video full of blues and whites, is deeply elemental, suggestive of gently blinding of two alto saxophonist. Harnessed together much of the time , John Harle and snow or a threat of drowning. The accompanying soundtrack is similarly Simon Haram were each allowed the occasional opportunity to emerge on a beautiful. Shifting like the tide, the piece finally opens up to piano music by turns comparatively thoughtful solo line from their joint virtuoso endeavours. They melodic and discordant, becoming entwined with secular incantations, intonations usefully offset the heavy industrial activity in the orchestra which, between the of passion and of danger. In spite of the "thoughts" of its title, this is essentially a deceptive opening and closing bars characterises the score as a whole. An sensory experience. But none the less a beautiful one. admirably high-energy all-or-nothing performance FIONA SHEPARD MARK BROWN THE SCOTSMAN GERALD LARNER: THE TIMES . “arriving at a distinctive and melodic approach he demonstrates an uncanny Time At Rest Devouring Its Secret “is a 35 minute single movement work of talent for spreading short melodic motifs over long distances without causing the "basically one texture" inspired by Riley's ‘In C’, Reich's ‘Drummin’g and mind to wander, using subtle development and barely detectable changes in Feldman's ‘For Samuel Beckett’ The light and lean grandeur of the orchestration orchestration. Several composers have adopted his approach since, among them recalls Takemitsu: an unpredictable drip-drop pizzicato of deep double bass and Michael Torke and Michael Gordon, but it's doubtful any of them have made a high pitched violin or harp, mingling with tintinnabulous percussives. Overheard, recording quite like the seminal Cadenza an almost transcendental piece of clouds of strings and electronics drift and repeat in a kind of bittersweet, music. What will surprise is the year of genesis of these pieces. Poppy joined the melancholy ecstasy that plays some fascinating psychoacoustic games with ZTT label some twenty years ago, hence this commemorative collection On Zang Tuub Tumb. The other parallel to draw with Poppy is Cabaret Voltaire, for some 3 of the music takes on an experimental form, fractured rhythms thrown around for Fischer-Dieskau and Brendel. But Poppy is wasted on electro. Give this man a big dissection. Nowhere is this more evident than Kink King Adagio…. an intriguing orchestral commission, now! listen. JOHN L WALTERS DEC 08 THE GUARDIAN BEN HOOGWOOD MUSIC OMH Echo & Decay, Spit & Crackle Recent Listening April 2009 "...and the shuffle of Despite his reputation as a minimalist, Andrew Poppy gives you plenty of bang things" Andrew Poppy's new CD starts with a spit and crackle of velocity that for your buck on his ZTT works. If you're into contemporary composition, the slowly moves toward a triumphant, almost pomp-like, classical-sounding burst of bargain of the week has to be Andrew Poppy on Zang Tuum Tumb (ZTT 3CD, sound. This is immediately hijacked by a voice which self-consciously £15.99), which collects Poppy's 1980s albums The Beating of Wings and undermines all our expectations by talking about the music it is interrupting. Alphabed together with a third, unreleased album and various odds and ends. Except of course, it isn't, because the spoken part is intrinsic to the score. Just You get plenty of notes for your money, too: despite Poppy's reputation as a when we come to terms with that idea a bell-like note rings and the music fades minimalist, his best pieces are gloriously abundant in cascading cycles of notes away as the voice continues its existential pondering. It's a fantastic introduction and noises, with satisfying, circular chord sequences, using very big ensembles to this 'cabinet of sonic curioisities' (as the sleeve notes puts it) and these kinds of and big-sounding virtual ensembles with keyboards and samplers. Poppy studied musical and verbal conundrums and subversions continue throughout another 9 music at Goldsmith's, where he co-founded Regular Music. Later, he was a key tracks. Much as I like a lot of Poppy's music, for me, it's a return to the kind of member of the Lost Jockey. By signing to Trevor Horn's ZTT label, Poppy made work I most like of his, which has previously appeared on his ZTT LP Alphabed some interesting lateral moves. For one thing, it meant that his music was and to a lesser extent the more difficult Ophelia Ophelia. Poppy is a master of beautifully recorded, using the state- of-the-art studios. It also promoted Poppy's hybridization: classical and contemporary classical music, orchestrated rock, oeuvre to a style-conscious, Face-reading audience, complete with detailed art chamber music, synthesizer rock, art rock, show music, avant-garde music and direction, enigmatic notes and Anton Corbijn portraits. This re-alignment cut both post-rock along with performance poetry and declamatory oration are all present ways, and may have distanced Poppy from the serious recognition now handed in the mix here. But why attach labels to what is in essence new and inspirational out to his less clued-up contemporaries. Yet what you hear in Poppy's music, music? Whether or not this CD is merely things shuffled, a kind of musical sleight particularly in key works such as 32 Frames for Orchestra and Cadenza for of hand, or not, is irrelevant. Poppy has made all these things anew, and I Piano and Electric Piano, is a keen ear for the large-scale, compositional use of recommend the CD to anyone interested in where music might be found in the timbre - the qualities that drew him to the cutting edge technology of ZTT's 21st Century and remain approachable, varied, dynamic and entertaining.
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