Terse, Tuneful Cinematics from Ljova & the Kontraband
[republished from Lucid Culture’s sister blog New York Music Daily, which has appropriated the Balkan and Slavic sounds this blog covered for years]
Is there a more cinematic composer working today than Lev “Ljova” Zhurbin? It would seem not. Like all film composers, he’s called on to portray every emotion and every possible scenario within a very short time frame, which informs his writing beyond the world of film as well. His latest album, No Refund on Flowers, with his string ensemble the Kontraband is considerably more stripped-down and a lot closer to those shapeshifting cinematics than the group’s boisterous, lushly orchestrated, absolutely brilliant 2008 debut, Mnemosyne. Which is to say that its charms are somewhat more subtle. Its title is a wry reference to a sign in the window at Ljova’s corner deli, Sing & Sing Market at 96th and Columbus Ave. He distinguishes himself with a devious wit along with his nonchalantly sizzling chops on the viola and fadolin along with accordionist Patrick Farrell, bassist Mike Savino and percussionist Mathias Kunzli. Vocals are by Ljova’s wife, the crystalline, brilliant singer Inna Barmash. What’s most obvious from the first few bars of the dancing opening track, Sam I Am, is how much fun this band is having. Who would have expected the tangoesque (Ljova is a GREAT tango composer) interlude, or the Russian chromatics thrown in for good measure, or the way the band lets the suspense linger without any resolution?
The Blaine Game, a tightly wound, shapeshifting romp centered around a fluid accordion riff was written in a Blaine, Washington coffeeshop between jazz workshops, Kunzli’s rattle doing a fair impersonation of an espresso machine. Barmash – frontwoman of the deliriously fun Russian/Romany band Romashka – sings the John Jacob Niles version of Black Is the Colour, with a tender, crystalline resonance and some spine-tingling high notes, maxing out the torch factor over what’s essentially a tone poem until it goes all psychedelic and eerie. It has very little in common with the old English folk song.
The swaying nocturne Yossik’s Lullaby portrays one of Zhurbin’s sons as the more serious of the two; his brother Benjy gets a joyous bounce with operatic echoes and a big crescendo. Likewise, Mad Sketchbook, a NYC subway tableau, grows cleverly from a catchy circular theme to frenetic clusters and then back. The centerpiece of the album is By the Campfire, a sadly pulsing, chromatically-charged waltz, with a creepy, explosive, crashingly noisy interlude, Barmash sliding up and leading the band into a raging march. The lyrics – which Barmash translated from a 12th century German poem – echo a sadly universal theme: “Lies and spite rule the world, law is dead, truth is poisoned – the wisdom of our age teaches theft, deceit and hate. ” The album winds up with a pulsing waltz that builds on a riff from Mahler.