SILENT SOUND

Nightfall

Spring Hill Music (2002)

review by Bill Binkelman

Ushered in with what may be the prettiest song I've heard all year, Silent Sound's debut recording, Nightfall, is a fantastic recording and is, with ease, among the best in the genre for the past year. Silent Sound is comprised of a duo that includes a mandolin player (Butch Baldassari) and a multi-instrumentalist (David Hoffner) who plays everything from bass to keyboards to woodwinds and percussion - You may be thinking (as I did) "a mandolin player?" However, trust me, you've seldom (if ever) heard mandolin played in such a sublime and restained manner as on this recording. Baldassari's stringed instrument (actually, assorted variations on the mandolin) is perfectly complemented by the arsenal at Hoffner's disposal. The mood throughout the recording is peaceful, reflective, and so drenched in beauty that it's almost unbearable to listen to if you're emotionally vulnerable - the music is simply that evocative.

If I had to make a comparison (for the sake of description) I'd probably say "Cross the neo-chamber side of Tim Story with the softer less-'Irish' side of Nightnoise and you'll be getting warm." The mandolin adds a strong "acoustic" and "natural" feel to the music which is balanced by some of the best recorded synthesizers (strings and textural sounds) I've heard on a non-ambient recording in a long time.

Joining Hoffner and Baldassari on this CD, by the way, is Jim Hoke, who contributes on various wind instruments, such as recorder, flute, clarinet, et al. And while both Hoffner and Hoke do a fantastic job, I gotta say it's that damn mandolin that almost brings tears to my eyes. And boy, was I suprised at my reaction!

The songs here are a combination of originals by Hoffner and compositions by people like Michael Hoppé and some others whom, I hate to admit it, I don't recognize (such as Charlie Provenza and John Miller). My faves include the opening title track (I love that opening synth chorus, bell tree, and shimmering keyboard, before sampled guitar and Baldassari's mandolin begin a slow and somber duet), the haunting "As Far As I Can See" (mandolin played against a shadowy flute refrain), the sad-sounding "The Path Downhill" (showcasing Hoffner's abilities on both sampled instruments [guitar] and the real ones [flute]), and the aptly-titled "For The Rainy Days" which is all about sitting in front of the window recalling broken hearts, missed opportunities, and deep regrets.

In all honesty, I can't remember a more evocative acoustic-electronic new age music recording. Nightfall has no weaknesses that I can disccern (even the cover, featuring the famous Haystack Rock off-shore from Cannon Beach, Oregon, at sunset, is so damn beautiful I want to frame it!). But as good as the outward graphics are, the music is ten times better. If you love music that features a blend of both acoustic and electronic instuments and that is unafraid to be sincerely sentimental (yet never saccharine or phony), played with feeling and conviction by artists who have skill and heart, Silent Sound's Nightfall will almost assuredly cast a spell over you. This is ideal late night music. Whether talking into the wee hours with a loved one, reading a good book, or just reflecting by the fire, I can't recommend a better soundtrack for the quiet times. The album earns my highest recommendation.