Pan-acousticon

Album review

An elaborate work from the New York composer, improviser, and harpist, Pan-Acousticon is the result of more than three years of work in refining the fusion of her multi-disciplinary work. Mixing electronics and sampling with more classical orchestration -- even touching on avant rock and jazz -- the mastery of Zeena Parkins is in her seamless arrangements of evolving textures and rich-string tones which draw on a diverse pallet of influences yet never sound pastiche. Her themes are suggestive of folk, klezmer, and avant pop, and given her background in avant-garde and experimental circles, there is a fair degree of angular juxtaposition and spirited noise. Pan-Acousticon is evidence of a mastered craft; through many experimental and improvisational projects, Zeena Parkins has developed a striking and singular voice in new music composition, a voice which is always challenging, poetic, and deeply considered. The small ensemble consists of the composer on electric harp, piano, sampler, and accordion with Sara Parkins and Margaret Parkins on violin and cello, Jim Pugliese on percussion, and Mark Stewart on guitar. The group maintains a high degree of playfulness and dexterity throughout. That the album is co-produced by Elliott Sharp and appears on radical composer John Zorn's Tzadik label should be endorsement enough.

© Skip Jansen /TiVo