| Review by Steve Gilmore (Songplanet and Soundclick) |
| posted by: CMHansen |
posted: Apr 12, 2006 09:17 PM |
The most surprising thing to anyone new to the online music scene (unsigned, indie and all points south) isn't how much of it there is, it's just how good most of the stuff online is. I haven't really listened to any commercially available music for around five years or so now, and I don't really miss it. When I can put on a Maria Daines track, or groove around to Silvertrain or any number of other artists I can name, who needs the commercial music world with it's pre-packaged, tasteless fare? For my money, some of the tracks and artists I have heard on this extremely large scene of ours could IMHO blow away almost anything that the RW record business could throw our way.
Christopher Martin Hansen is a great example of this...
Although he's an acoustic guitarist whose genres include New Age, World music and classical, he does it all in such a way that even if you don't particularly care for the genre, you would still like what the guy does. Aah, but the Doubting Thomases say, its online for free so it can't be any good, can it? Well, I'd suggest that you make your own mind up about that and check out any of the artists I've named or - more to the point - listen to what CMH has to offer. I first met Chris on the Songplanet chatroom long before I had heard any of his music, and it was Songplanet Radio that finally convinced me I really should be checking this guy out. This was made even clearer when - following my own release dedicated to the victims of the London 7/7 bombs - that CMH released his Adagio Remembrance track concerning the same event. Seeing as it was Adagio that first started me off on this CMH jag, let's start with that.
In feel and tone it's much more classical than the acoustic playing that I personally like, and as such I'm not going to be that good a judge of how great the peice is. Where my London tribute track was angy and edgy, Adagio Remembrance is almost extreme chill out - in a classical way of course. It's musical timing could come from any of the wonderful 'requiem' school of classical music, lots of violins and cellos cascading past each other in a never ending waterfall. Think about the kind of music that would illustrate the falling of millions of poppy petals and I think you'd get the idea pretty quickly. In that respect then, it does everything Chris wanted it to do. He said he wanted to make a track that gave people hope and life amidst violent and tragic death and by God it does that and then some.
However, its the other side of CMH that most inspires and impresses me most. His acoustic playing is tasteful, delicate, complex and eerily fluid. It has to be said that I love the sound of a well played solo acoustic guitar and that have a lot to do with the lure of this artist for me. Especially when you ally that with a more classical approach, rather than the usual folky feel. Take, for example, Simple Souls. A beautifully performed, tasteful guitar peice that has you guessing for every one of it's 3+ minutes of life. Certainly one of my fave CMH tracks and that's probably because it reminds me so much of the work of Leo Kottke, yet another acoustic guitarist I really rate. Gringo Lingo takes us into a much more Spanish/Latin world, full of exaggerated chord flourishes and some - to my ears - of the most wonderful guitar leads I have heard in a long, long time. Little Habanero could be it's brother or sister and is the ideal track for that tasteful garden party you always wanted to have - as is much of CMH's output. To be sure, there ARE going to be people unmoved by Christopher Martin Hansen's prodigious musical and instrumental talents but I gotta say I don't understand how you couldn't fail to notice just how GOOD this artist is. Forget genres, think experiences!!
Ya gotta, ya just gotta....
Steve Gilmore
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| Steve Gilmore reviews 'The Road From Dublin" |
| posted by: CMHansen |
posted: Apr 01, 2007 04:11 PM |
Exactly a year ago I did an Artist Spotlight on Christopher Martin Hansen so I thought it was about time I brought this very gifted acoustic guitarist to your attention once again. Listen, if you don't get me the first time, I'm just going to keep on pestering you OK? Here you are, wandering around this vast arena of music, wondering where are all the REAL goodies at? I told you then and I'll tell you again now, you will NOT find a better acoustic guitarist in the manner of (for example ya understand) Leo Kottke anywhere else. This man's ability to pick (in every way) a winner makes other guitarists jaw drop and their hopes of excellence to shrivel and die. I jest of course, but not by much.
If you think all of those claims are highly exaggerated, then listen to the first 16 bars of this track and come back and tell me I am wrong. Ever since I first heard this artist I have been a confirmed fan, and when he delves into the classical side of the matter CMH Classical ooh la la and brrrrr. The Road From Dublin though is fairly recognisably based in the acoustic folk end of the genre but is Chris's hands it undergoes a subtle, but very beautiful change. The reason I brought up Leo Kottke earlier is because - in his modern material - Chris's work is dependent on much the same level of instrumental expertise and knowledgeable, intricate arrangements.
I've seen Leo Kottke live more than a few times and been amazed at the man's skill and talent. What amazes me about Kottke is the same thing that makes me like CMH so much. It is sooooo hard to make an acoustic guitar track that is exciting enough to maintain interest for a couple of minutes, let alone the well over five minutes The Road To Dublin takes up. I have seen Leo Kottke keep a couple of thousand people as quiet as a mouse with his music, and Christopher Martin Hansen has the same potential, and certainly much of the same talent. I know that acoustic music is bedevilled by the 'folk music' tag but this track transcends every genre I could name - except beautiful...
A work of art. MUST HAVE.
Steve Gilmore
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