Like most people (I think), I don’t like 90% of music, and like even more people (back me up here), I don’t like 99.9% of classical music (‘classical music’ in the common sense of the phrase, not the phase from 1750 to 1820 or whatever. You square). Apparently it’s full of great ideas, but apparently so is Oblomov, and sure as fuck that was a painful 586 pages. This is because I find it (‘it’ being classical music. Forget about satirical 19th Century Russian literature now) to be uninteresting, which is a shame for such a large body of work that, as stated, is purported to contain such a wealth of information. Bach gets mentioned by a lot of metal musicians, how he was the master of harmonies or something, but I’ll take the intro of Damage Inc. over O Jesu So Meek any day, so what the fuck do I know really.
Anyway, it’s nice when someone lives up to the bluster. Julian Marchal is a pianist who composes his own pieces, each of which is titled Insight and suffixed by a number. Insight III (the albums are titled along the same principle) takes us from Insight XXIV up to Insight XXXIII, with the liner notes stating
The Insight’s pieces are conceived […] to put the listener into the piano. The numeral numbers replace titles in order not to create mental images before listening to the music.
Marchal takes this concept of each song being each listener’s own insight and really makes it it work. Like the best instrumental music, the 10 pieces on Insight III tell stories without using words. The removal of the human voice gives these pieces an enigmatic quality, and with his songwriting and playing laid bare with only a piano at hand there is a poignancy and contemplative quality that are endlessly attractive.
As you make have guessed by my opening jeremiad, I’ve never gotten into classical music, so I don’t know who Marchal could be compared to, if anyone. However, the universal appeal in Marchal’s playing is in his melodies. His playing is mainly comprised of homophonic (one note at at time) melodies (think of the intro to Sweet Child O’Mine) rather than chord progressions (think of, say, Knees Up Mother Brown). This isn’t necessarily the better way of doing things, but it does allow Marchal’s knack for a melody to shine through. The highlight of album is fifth track Insight XVIII, with its rolling and dark lines, fading into silence without resolution before returning muted and ambiguous. The recording doesn’t have as much of a close–up feel compared to Insight II – there’s no creaking of the piano – but there is still a tactile quality to the piano underneath a natural reverb.
As stated, classical music, much like certain metal sub–subgenres (from France or otherwise), has a niche audience, but trust me on this one; roll over Beethoven, back up Bach, cease transmissions Classic FM, Marchal’s the man with the insight.
Insight III is out now on Whale Records.