The chamber ensemble counter)induction, a group that has dedicated itself to the performance of new music since it came on the scene at the end of the last century, takes its name from a concept in philosopher Paul Feyerabend’s classic work Against Method, which is also the title of their latest album. Counterinduction, roughly, is a critical method of opposing a theory or concept with a counterpart drawn from outside of the target theory’s ordinary frame of reference. In practical terms it entails an embrace of critical pluralism, which seems to have been the concrete inspiration counter)induction took from it. With its selection of six diverse works by just as many composers, Against Method the album neatly encapsulates the group’s musical pluralism.
The opening track, Douglas Boyce’s The Hunt by Night, is a trio for clarinet, cello, and piano that uncoils with a spry, loping energy that recalls the spirit of Les Six. It’s an engaging lead-in, and oddly, perhaps the least “contemporary” sounding of the works represented. Kyle Bartlett’s Before for guitar, bass clarinet and cello follows and changes the atmosphere dramatically. In contrast to The Hunt by Night’s melodic continuity, Before features bursts of fragmentary lines and long tones, and makes generous use of unpitched sounds. Ein Kleines Volkslied by Alvin Singleton, originally commissioned by Bang on a Can, draws on elements of rock and jazz—Dan Lippel’s distorted electric guitar chords and Randall Zigler’s pizzicato basslines add just the right flavor—and includes a fine feature for vibraphone at its center. Jessica Meyer’s Forgiveness, the only piece on the album incorporating electronics, uses a loop pedal to transform a hymn-like solo performance by bass clarinetist Benjamin Fingland into an accumulating, virtual reed ensemble. In another abrupt contrast of styles, Forgiveness is followed by Ryan Streber’s neoclassical Piano Quartet—a lushly beautiful, harmonically rich piece. The album closes with Argentinian composer Diego Tedesco’s Scherzo for guitar, clarinet, violin, viola, and cello. Although billed as a musical joke—and the repeated motif of descending chromatic lines does sound like a bagful of broken toys falling down a flight of stairs—the piece makes sophisticated use of pizzicato textures from the guitar and other strings.