A Separation of Being is the latest release by Calgary-born, Nova Scotia-based multimedia artist Jay Crocker, better known as JOYFULTALK. Part of a larger whole, the album proper is one aspect of a project that also encompasses a massive technicolour painting containing the score.
The visual component of the album is striking; a minimalist, geometric composition. It’s an accomplished colour work that leverages desaturated, contrasting tones against bright red and white accents. The score appears laid out over the white space; its swirling circles serve as a fitting representation for the layering loops that largely make up the LP itself.
Crocker cites Moroccan Gnawa and Japanese Environmental music as influences. Gnawa is characterized by repeating, syncopated, minimalist polyrhythmic phrases. Mostly consisting of percussion and a bassline, this style usually serves as a backdrop over which communal chanting takes place. Also atmospheric in essence, Japanese Environmental seems less like a movement and more like a snapshot of Japan’s response to Brian Eno’s “Ambient 1.” It largely features unobtrusive, “wallpaper” soundscapes and focuses strongly on the beauty of sound in relaxing atmospheres while also integrating the melodic idiosyncrasies of traditional Japanese music.
Most of these elements are present in A Separation of Being. Each of its three parts orbit around a central motif, an expansive polyrhythmic idea with strong traditional Japanese and contemporary classical flavours in its melody. Parts 1 and 2 share the same motif, while “Part 3” has one of its own.
“Part 1, I’ve Got That Transdimensional Feeling Again” presents its motif right from the start. It is a playful melody, creatively written with a pentatonic flavour commonly associated with traditional Japanese music. The limited set of notes is leveraged well, with interesting intervals both narrow and wide. It quickly becomes familiar yet difficult to predict due to its length and rhythmic complexity. This motif is an accomplished piece of music that gets a lot of mileage but ultimately suffers from repetition.
The sounds employed here are pleasant, but the phrasing is too frantic to fade into a relaxing backdrop. The initial staccato sound pleasantly cross-fades with a legato synth, which glides across progressively wider gaps.
The track continues to layer elements over the motif, culminating in a strong but short, percussion-infused climax during its last minute. The arrangement builds up continuously but generally feels a bit constrained in dynamics.
In “Part 1” we are also introduced to the string parts, arranged and performed by Jessy Zubot. These continue throughout A Separation of Being and breathe a lot of life into the record.
“Part 2, Pixelated Skin” is easily the best on the record. Beginning with a strong electronic beat immediately reminiscent of Gnawa, it features lots of movement and timbre variety. There’s a very well-placed hi-hat thrill, and synth bass lines skip to high notes in what sounds almost like hollering. Great stuff.
The main motif from “Part 1” makes a return, and it’s initially welcome in its new “pumping” synth version. However, it becomes a little tired about halfway through the track. There is a great halt where everything gets quiet and the strings shine before dropping back into the rhythm.
“Part 3, Liquified When Evaporated” makes for a challenging listen. With an abrupt start and melodies that come out as somewhat random and unfocused, this track suffers from the most repetition and blurriest context. When the strings and a pulsing bass come in, the tone becomes rather tense and dramatic, and there is a great part where the strings glide down a full octave creating a great sense of anticipation. But there seems to be a missed opportunity in not capitalizing on these moments with a stronger payoff.
A Separation of Being is undoubtedly a complex, interesting piece of art, worthy of your attention. It’s just somewhat difficult to place as a record. In my short experience with Japanese Environmental and Moroccan Gnawa music, I found that the former avoids repetition fatigue by way of disciplined, patient build-ups, and the latter by virtue of chanting over the loops.
In contrast, I did find some of this fatigue creeping up during repeated listening of A Separation of Being, and I would argue that the presentation of the package as a whole feels somewhat grandiose. However, those who enjoy seeking distinct artistic visions will definitely find plenty of interest here.