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(Monday, October 03, 2011) - WHAT IS it about Auckland that the city is suddenly producing so much self-assured acoustic-based fusion music of such tremendous quality? Like robust weeds growing in the cracks of the pavement, groups like Beyondsemble are asserting their presence with albums like this… not just the typical souvenir made by the part-time bar band, but beautiful recordings of artfully arranged and performed pieces.
In this case, four musicians I’ve never heard of with a combination of (as the liner notes state), ‘gypsy manouche, South American, bluegrass, Celtic and circus’.
The instrumental mix is somewhat dominated by accordion and violin, though not to the music’s detriment. There’s also generous portions of acoustic guitar, mandolin and piano, all of it performed exquisitely, with grace and lightness that makes it sound as natural as hey ho. And it’s captured beautifully by the sound engineers at York St Studios, too.
While seven of the tracks are original compositions, a further four are “our own arrangements of covers”, and another three are listed as “traditional”. Apart from the last track, ‘Over The Rainbow’, none of these are spoiled by over-familiarity, and all are distinguished by the group’s unusual acoustic makeup.
My only gripe is that, at times, it can sound a little bit too cultured, too nice, too comfy. Sometimes I wanted the music to break out with a few experimental moves, or perhaps provide a rendition of a song that nobody in their right mind would expect. GARY STEEL
Music = 3.5/5
Sound = 4/5
- witchdoctor.co.nz

(Monday, October 03, 2011) - WHAT IS it about Auckland that the city is suddenly producing so much self-assured acoustic-based fusion music of such tremendous quality? Like robust weeds growing in the cracks of the pavement, groups like Beyondsemble are asserting their presence with albums like this… not just the typical souvenir made by the part-time bar band, but beautiful recordings of artfully arranged and performed pieces.
In this case, four musicians I’ve never heard of with a combination of (as the liner notes state), ‘gypsy manouche, South American, bluegrass, Celtic and circus’.
The instrumental mix is somewhat dominated by accordion and violin, though not to the music’s detriment. There’s also generous portions of acoustic guitar, mandolin and piano, all of it performed exquisitely, with grace and lightness that makes it sound as natural as hey ho. And it’s captured beautifully by the sound engineers at York St Studios, too.
While seven of the tracks are original compositions, a further four are “our own arrangements of covers”, and another three are listed as “traditional”. Apart from the last track, ‘Over The Rainbow’, none of these are spoiled by over-familiarity, and all are distinguished by the group’s unusual acoustic makeup.
My only gripe is that, at times, it can sound a little bit too cultured, too nice, too comfy. Sometimes I wanted the music to break out with a few experimental moves, or perhaps provide a rendition of a song that nobody in their right mind would expect. GARY STEEL
Music = 3.5/5
Sound = 4/5
- witchdoctor.co.nz

(Wednesday, October 20, 2010) - These four talented musicians have the skill to make music of the highest quality look easy. They play together with complete trust and it took only a few minutes for the large audience to relax into the music with them.

It was a very special evening of world music, made even more special when local favourite Nathan Torvik came on stage with his mandolin for the second set.

The sound was perfectly balanced between the musicians and enhanced by the use of a Cajon percussion box instead of a full drum kit. Chris Koole, who built it himself, played expertly, and could be heard clearly without overpowering the other instruments. Koole also sang lead vocals – never better than in the Leonard Cohen composition Hallelujah. Compared to the famous though undoubtedly lugubrious original, it was almost joyful!

Craig Denham, equally accomplished on accordion, keyboards and whistle, led a tender version of their own song The North Sea, written in Aberdeenshire, and with one instrument or another, was involved in everything.

Would the reluctant nun Maria have recognized the modern version of her saccharine hit My Favourite Things with its changing rhythms and jazzed up melody line? In Nelson at the Arts Festival, it was a great success.

Playing mixtures of covers and original compositions, we had a breathless and delicious whirl from Bolivia to Macedonia (great bouzouki Mark Mazengarb), from Ireland to France, Hungary to the USA. Bluegrass, reels, folk and then a jaunty All of me, composed by Gerald Marks in 1931 and led on violin by Jess Hindin, who was a star throughout.

There was really smooth ensemble delivery in Chet Atkins Chaplin in new shoes and perhaps the highlight of the night was Irving Berlin’s Putting on the Ritz, delivered with a hectic pace.

They all sported hats of various personality – Nathan’s felt number just fitted in beautifully, as did he.
This concert was exhilarating and seemingly faultless. It was great value for money.

At the end, Beyondsemble were rewarded with appreciative stamping, cheering, whistling, clapping et al – and they rewarded us back with two encores. Thank you Beyondsemble.
- The Nelson Mail