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It’s unlikely anybody will hear something a lot stranger this yr than BrhyM’s “Platypus Wow”. “Received webbed ft, rubber invoice, fat-ass tail, furry chill,” a multi-tracked Bruce Hornsby mumbles to a peculiar accompaniment of squawking, cawing woodwind, including “darkish purple-green colored fur/I’ll stick that ass with my poison spur.” Quickly he’s quasi-rapping, joined by mournful strings, unpredictable piano runs and doo-wop harmonies, earlier than concluding, “I mild up the world, just for you.” The sentiment would possibly sound Disneyesque, however Disney this isn’t.
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The third observe on Hornsby’s first full-length with yMusic – the chamber ensemble favoured by, amongst others, Bon Iver, The Nationwide and Paul Simon – is usually indicative of the enigmatically titled Deep Sea Vents’ experimental nature. It could, nevertheless, come as a shock. No-one, in any case, introduces Bruce Hornsby with out mentioning ‘that’ music. Nearly 4 many years since The Vary’s second single, “The Method It Is”, topped the charts in America, spending eight ubiquitous weeks within the UK Prime 40, it stays his best legacy. Earlier this yr, kicking off Radio 2’s Piano Room Month with the BBC Live performance Orchestra, he started with an prolonged model.
To be truthful, the basic observe’s a poignant, near-universal reflection upon poverty, sampled by Tupac for “Adjustments” and for a few years a treasured function of Grandstand’s soccer league tables rundown. Nonetheless, at present’s Hornsby is a really completely different mannequin. Since his invitation to report with Justin Vernon’s former band, DeYarmond Edison, for a 2016 Grateful Lifeless covers album, overseen by The Nationwide’s Aaron and Bryce Dessner, he’s engaged in a sequence of unlikely collaborations. A 2016 look at Wisconsin’s Eaux Claires pageant, curated by Vernon and the Dessners, was adopted by one other at Coachella the subsequent yr with Bon Iver, whose “U (Man Like)” Hornsby co-wrote for 2019’s i,i. Vernon in flip provided backing vocals on Hornsby’s startling Absolute Zero, its wonky character pointing in direction of his newest providing.
The roots of Deep Sea Vents are submerged in Eaux Claires, the place yMusic co-founder CJ Camerieri glanced facet of stage to see an unlikely gentleman in his sixties rejoicing on the sextet’s alliance with The Staves. An ensuing dialog led to their very own contributions to 2019’s Absolute Zero, whereas a tour collectively, curtailed by the pandemic, provoked this new album’s title observe. Written after an invite from Camierei’s musical companion, Rob Moose, the joyous, swing-time quantity, like Randy Newman kicking up his heels in a speakeasy, was carried out as their encore, Hornsby singing – such as you do – of “Cephalopod desires/Lounging in beds marine”. No marvel, when it was clear Covid was sticking round, Moose reached out once more.
Hornsby responded shortly to their ‘progressive’ concepts with completed songs, and although what emerged is, musically and lyrically, typically cerebral, his relish for spontaneity stays intact. Embracing jazz, the avant-garde, up to date classical, electronics, chamber music, even funk, however hardly ever shedding sight of pop’s melodic calls for, it succeeds in enjoying to yMusic’s strengths whereas bringing out, with gusto, a hardly ever showcased facet to Hornsby. He’s no stranger to partnership, although, touring as a part of the Grateful Lifeless from 1988 till Jerry Garcia’s loss of life and collaborating with the likes of Ricky Skaggs, Charlie Haden and Spike Lee. 2004’s Halcyon Days, his second album with touring band The Noisemakers, even featured Sting and Elton John, whereas his Radio 2 presentation concluded with “The Finish Of The Innocence“, co-written with Don Henley.
None of this hints on the extremes of Deep Sea Vents, which, except for Hornsby’s broadminded maritime themes, stays admirably capricious. “Wild Whaling Life”, impressed by Moby Dick, combines dulcimer, jagged strings and flitting piccolo strains with a far nimbler beast’s vitality, whereas “(My) Principle Of All the pieces” follows Ed from the Virginia Institute of Marine Science, who’s busy “taking water samples, checking in for phosphates” as ticklish woodwind tosses light waves. On “The Wake Of St Brendan”, Hornsby’s voice shimmers as if underwater, any early rigidity resolved like a Van Morrison redemption, whereas “International Sounds”’ piano and strings recommend a frugal Peter Gabriel – additionally evident on the rippling “The Baited Line” – earlier than “Deep Blue” pairs existential meditations with minimalist, Prince-like swagger.
Inevitably, Hornsby’s older followers, proof against refrains like “I’m the platypus”, might baulk at Deep Sea Vents’ challenges, whereas others would possibly carp at extra esoteric moments, not least “Barber Booty”’s flailing strings. That, nevertheless, is simply the way in which it’s, and don’t you imagine them. These keen to immerse themselves on this vibrantly imaginative, creative world might recognise that, although some issues by no means change, it’s inspiring after they do.
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