Solemn ‘Selenography’ by Rachel’s strikes odd chord

“Selenography” by Rachel’s would be perfect as a movie soundtrack, but may fail to appeal to the average listener. This album is a great accomplishment for Rachel’s, who is performing tonight with the band Matmos at the Wexner Center for the Arts, just not terribly exciting for the listener. Rachel’s has worked with filmmakers, dance companies, stage productions, printmakers and photographers who would probably find this an interesting album to use in their next project because it is so abstract and distinctive. Their music has been included in “Any Given Sunday” and “My Dog Vincent” among other films. This is a tough call; “Selenography” is a beautiful album, but it is not for everyone. The music is exquisite with a perfect blend of strings; yet the continous solemn tone is a major turn-off.   Though the album is mostly instrumental, a few of the songs include vocals. The use of a variety of instruments make their sound possible: trumpet, percussion, viola, cello, drum kit, vibraphone, keyboards, harpsichord, accordion, guitar and bass.   The beat varies; some songs are very slow and others have an unbelievably fast tempo. Each one creates its own distinctive mood. It is almost as though a dialogue exists within each song. A conversation of intensity, sadness, fear and anxiety lies within the music. “Kentucky Nocturne” is a fast-paced song with a harsh sound created by the strong piano influence which complements the guitar and viola. “Honeysuckle Suite,” on the other hand, is peaceful, with a complex use of the harpsichord, which is a definite plus for the album because it provides variety. “Artemisia” may make the listener tense. Yet he or she may appreciate the complicated patterns that emerge.   Along with “Selenography,” Rachel’s has created another album “Full on Night” with Matmos.   There are only two songs on that album- the title track is one half-hourconsisting of ear piercing noise with screeching and whining from the instruments. It sounds a bit like heavy metal in places, which makes “Full on Night” odd, but nevertheless perplexing. “The Precise Temperature of Darkness” is not much better. Is this supposed to be pleasant? At times, the listener may hear what sounds like a knife being sharpened in the background. The songs sound as though the musicians are experimenting with what alternate sounds their instruments can produce. The music echoes as if from outer space: very sharp, harsh and cold.

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