Dana Lyn Plays an Ocean of Melody at the Firehouse Space
Violinist Dana Lyn is as adept at Bach and Celtic dances as she is at searchingly acerbic string music. There’s a lot of the the latter on her latest album Aqualude. Last night at the Firehouse Space in Greenpoint, she and her shapeshifting band from that album – Clara Kennedy on cello, Jonathan Goldberger on guitar, Mike McGinnis on clarinet and bass clarinet and Vinnie Sperrazza on drums – aired out some of the spiraling, entrancing pieces on it as well as a number of even more intriguing new compositions. One of those Lyn had just finished earlier in the day, but the group approached it with relish, Kennedy’s stark solo intro giving way to a lively balletesque theme that worked back and forth through all kinds of permutations, Goldberger hinting at skronk against an uneasy wash of strings.
Another began with an elegant eight-note clarinet hook that Lyn and Goldberger used as a springboard for lilting, dancing harmonies. One of Lyn’s main tropes is to loop a phrase and then use that to anchor an intricate interweave of voices. and the band did that often throughout an expansive set that went well over an hour. Lyn also has a fascination with the ocean and its creatures, carefully and wryly explaining how those often very strange beings influence her music. The guardedly explosive centerpiece of the Aqualude album, she said, was inspired by the hairy crabs who frequent the volcanic vents on the seabed. Another piece drew on the plight of the octopus, whose male and female basically go insane and die after they mate (does that remind you of another species?).
Kennedy opened the show with a stark intro that grew into a metrically tricky loop in tandem with the guitar, McGinnis adding counterrythmic staccato accents as Lyn’s violin wafted overhead. Sperrazza – who felt the room’s sonics instantly, keeping his masterfully counterintuitive accents and colors low-key with his brushes and sometimes just his hands – kicked off the next one as loudly as he’d go, with an almost baroque counterpoint from the clarinet and strings.
Along with the web of melodies, there’s a lot of contrast in Lyn’s music, and the band worked those dynamics with a comfortable chemistry: hazy atmospherics versus a kinetic drive, loud/soft and calm/agitated dichotomies, Goldberger hitting his pedals for an unexpected roar or McGinnis leaping from the murk of the bass clarinet to the top of his register. Lyn also counters the pensiveness and gravitas of her music with a surreal sense of humor. It was her birthday, so she supplied paper and pens so that everyone in the crowd could draw a cadavre exquis. Some of the audience came up with intriguing or amusing stuff; from an artistically-challenged point of view, it was impossible to concentrate on drawing for very long because it was such a distraction – and a lot more fun – to watch Lyn’s magical sonic tableaux unfold.
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