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Colin Stetson - New History Warfare Vol. 3: To See More Light

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Artist: Colin Stetson

Album: New History Warfare Vol. 3: To See More Light

Label: Constellation

Review date: May. 6, 2013

My review of Colin Stetsonís New History Warfare Vol. 2: Judges was a generally positive one, and, in revisiting it a few years later, I still find much of what I said to ring true, awkward constructions and all. Iím no longer as taken by Judges, however, as I was then, and I havenít played it much over the intervening years. I rightly praised Stetsonís last album for its mix of technical skill and palpable emotion, but after the release of New History Warfare Vol. 3: To See More Light, Iím beginning to wonder if Stetsonís handicapping himself with the albumsí rigid constraints. Itís still quite impressive that Stetsonís playing this music in single takes, with no overdubs; itís just not so awe-inspiring the second time around. What was unexpected and unpredictable on Judges feels more rote this time around, and, save for a few notable deviations, Stetson largely seems to be doing tricks to which we were all acclimated the last time around.

Stetsonís formidable ability as a saxophonist continues to frequently leave me wondering just how one mouth is making all of those sounds. And heís not just showing off: As a composer, Stetson pulls no emotional punches in the interest of flaunting his considerable skill set. His heart is decidedly in the right place, and when everything comes together, the results can raise goosebumps, even more than a dozen listens in. Stetsonís technique of singing along with himself through his hornís mouthpiece beneath the unfurling undulations of ďAmong the SefĒ makes for a mournfully chilling four minutes, and when ďHuntedĒ leaves the ground, abandoning its momentum as it swoops into the air, itís a potent punch.

Stetsonís technique doesnít vary much on To See More Light, but the voice that occasionally accompanies it represents the albumís largest departure from its predecessor. On Judges, Stetson recruited My Brightest Diamondís Shara Worden and the unmistakable Laurie Anderson; this time he enlists Bon Iver bandmate Justin Vernon. Vernonís vocals are a world away from Andersonís clean precision and canít match the stripped-down power of Wordenís performance. The generous layering of his contribution to ďAnd in TruthĒ smothers the evocative qualities of what could otherwise be one of the albumís best tracks, and his stab at gospel soulfulness on a cover of Washington Phillipsí ďWhat Are They Doing in Heaven TodayĒ makes for an awkward misstep on an albumís thatís often more expressive when the only voice to be heard is Stetsonís, wordless and obscured. ďBrute,Ē the worst offender, would have been best left on the cutting room floor; its attempt at a change in tone is admirable, but Vernonís cartoonish growl and howl take it over the edge in an unintentionally comical finale.

ďTo See More LightĒ is the centerpiece of the album, a 15-minute test of endurance in which a twining melody gives way to plodding percussion and a raspy, labored wail. Itís the albumís most ambitious track, if not its most effective, a seamless, multi-movement suite for one that ends with the most obvious exhibition of exertion Iíve ever heard from Stetsonís saxophone. It makes me want to hear Stetson continue to reach and expand his vision and the limits of his capabilities, even if it means abandoning the purity of his approach. Even Stetsonís most powerful moments feel very rehearsed. His music abounds with soul, but could use some wildness of spirit; after one is familiar with his approach, thereís little surprise to be found. As a result, To See More Light is another strong effort from Colin Stetson, and a familiar one. Should there be another entry in the New History Warfare series, Stetson would benefit from a broadening of his tactical approach.

By Adam Strohm

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New History Warfare Vol. 2: Judges

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