Zeena Parkins — Three Harps, Tuning Forks & Electronics (Good Child, 2017)
I tend to encounter Zeena Parkins primarily as a composer and electronics performer, including electronically enhanced harp. But of course, her base instrument is the harp itself, so it’s a change of pace to hear so much of the unadorned acoustic harp on Three Harps, Tuning Forks & Electronics.
Harps are good for spinning a sense of wonder and calm, and you get plenty of that on Three Harps. But you also get lots of creative, non-traditional playing, even before the electronic enhancements and tuning forks come in. The simple plinking of harps, played aggressively by Kristen Theriault, Megan Conley, and principal harpist Nuiko Wadden, plus Parkins herself on occasion, yields some engaging results with an overarching tunefulness built by minimalist, abstract strings of melody.
“Muted” starts with a lively, tickling pulse. What keeps it rather quiet is the nature of the harps themselves, but the track is still full of moments such as a sudden run of notes from one harp, or small strumming motions — musically percussive slaps — coloring one short segment.
On “Determined,” Parkins (or possibly Ikue Mori) adds splashes of electronics consisting of sampled harps compacted into small splashes of gibberish. “Mouse” then introduces a truly new array of sounds: Vibrato, percussive scraping, and a gray electronic roar join a backdrop of scurrying, minimalist flickers on the untreated harps.
The contemplative “Tuning Forks” is, of course, where the tuning forks come in, played by Mori. They’re played straight, creating shimmering tones that are so abstract as to feel almost tuneless at times. The overtones linger, creating a contemplative backdrop for Parkins’ swampy array of electronics.
Based on music written for a 2008 dance project, Three Harps is a nice showcase for technique and compositional approach, and it works as a single, coherent piece — it has that narrative thread to it.