Written by Brian Q. Newcomb
January 10, 2012

Arthur's Garden
Ric Hordinski  (indie/bandcamp)

Ric Hordinski first came to our attention as the original guitarist in Over the Rhine, but more recently has produced works out of his own recording studio, The Monastery, for folk like Ellery, David Wilcox and Phil Keaggy. Hordinski has carved out a unique musical space, and his own definitions for the sounds on this album are the following tags: "ambient awesome indie instrumental shoegaze Cincinnati." I'm sure that's helpful.

My first exposure to these compositions was hearing them live at his studio for the "Arthur's Garden" release concert/holiday party, which found him surrounded by two other guitarists, a bassist and a guy who added various minimal percussion, vibe and piano parts.

Although he plugged in for the second half, and played some rockin' Christmas songs, the first set found Hordinski playing acoustically without the aid or a p.a., the audience all leaning forward quietly to hear all the parts. At the very least, in comparison to all the loud live music settings we often experience, "Arthur's Garden" was presented in an intimate, reflective environment, quite conducive to the music's gentle tones.

I admit, I'm more prone to enjoy the guitar heroics that show up in the electric side of Hordinski's musical explorations. Earlier last year I reviewed a Mike Roe Concert at the Monastery, where Hordinski opened with a fiery set that featured a great, fun version of Tom Waits' "Clap Hands," and concluded with a duet with Roe on the Hendrix classic "Little Wing." I have great memories of the energy from that little jam. And I'm grateful for the moments when my friend David Burris was able to convince Hordinski to shred some blistering solos for his "Bad Sines" project that Hordinski produced and arranged.

But left to his own devices, as he is on "Arthur's Garden," Ric Hordinski chooses a more gentle, soothing and harmonically interesting path. As he was introducing the songs to the room of fans who'd come knowing they'd have to sit quietly and listen hard to hear all that was going on, he made light of the songs' titles. "The Penultimate Waltz" opens even though the title suggests it's going to be next to last, and "Pre-Amble" comes near the end of the record. There is one song with vocal, a collaboration with songwriter and singer Daniel Martin Moore, on "Time Enough."

"The Master Musician," the one song for which he played an electric guitar with an e-bow to simulate the bowing of a violin or cello, he said is an homage to his time working with Phil Keaggy, who's early monumental instrumental work was called "The Master & The Musician."

Throughout "Arthur's Garden," Hordinski is playing with modern variations on neo or faux Renaissance chamber guitar music, sometimes with an old world Celtic feel, at others embracing a more precise tempo and a Classical vibe. In all, it's a delightful sonic journey that emphasizes the nuance and vitality of unique tunings and old world melodic sensibilities.

 

Kaivama
Kaivama  (indie/kaivama.com)

Jonathan Rundman has done a lot of great pop and rock music both inside and outside the church over the last twelve years or so (see next review), but together with violinist Sara Pajunen they are Kaivama, a band of Finnish-American instrumental folk music excavators.

 

Remember the 1972 movie, "The New Land," featuring Max Von Sydow and Liv Ullmann, about immigrants moving to Minnesota from Sweden? Wow, why do I remember that movie? Well, anyway this music would be the kind of stark, open acoustic folk music you'd use if making the film today.

Strong folk rhythms, mostly on acoustic guitar, provide the base for Pajunen's melodic playing, emphasizing older northern European and Celtic folk sounds, which occasionally hits a polka rhythm or on some of their own compositions like "Edina Speedtrap" and "Chicago Waltz" a more modern flavor. There's a bit of banjo in the gypsy romp that is "Pirun Polska" and throughout there's a healthy mix of old world energy and a unique sense of urban modernity conveyed in the stark open sound in the recording.

 

Jonathan Rundman
Jonathan Rundman (Salt Lady/jonathanrundman.com)

Of course, Jonathan Rundman's main gig is being himself – working that fine line between garage-y pop/rock singer/songwriter and youth worker/church musician. Can you imagine Paul Westerberg as the contemporary worship band leader at the ELCA congregation, who'd rather write smart, fun songs than sing the usual praise choruses out of the Vineyard songbook?

The result is better, more progressive theology and great, sing-along songs that sound more like Cheap Trick than the standard campfire fare.

So what we get here is a 20 song retrospective from the last decade, essentially the artist sharing the high spots from his four full-length recordings, with a few new songs, alternative versions and remixes to sweeten the deal for long-time fans. In short, if you've not heard JR before, this is a simple introduction to one of the better left-of-center Christian pop rock artists working today.

The youth worker wants to tell boys to pay more attention to the "Smart Girls," while celebrating that church is the best place to fall in love ("Carol of the Bells").

As a liturgically minded Lutheran, he throws in a Lenten reflection in "Ashes," and a celebration of the Church coming together in meaningful ways in the "Narthex." Which means grace comes first and foremost in "Forgiveness Waltz," but there's good we can do when we're "Workin' My Committee."

But unlike so much conventional CCM (contemporary Christian music, coming from more conservative theological traditions), with Rundman you never get that anti-cultural bias, which says doubt is sin. Rather in "If You Have a Question," there's room with those of us who live with faith and doubt, experience and mystery.

All of which makes Jonathan Rundman an excellent candidate for mainline/mainstream progressive minded churches youth and young adult ministries. Frankly, I'm not sure why this guy is not a huge rock star around our side of the church. But maybe that will happen with this album…


The Rev. Brian Q. Newcomb is Senior Minister at David's UCC in Kettering, Ohio, and a long-time music critic published in Billboard, CCM Magazine, Paste, The Riverfront Times and St. Louis Post-Dispatch, among others. Additional content from Brian is available in his Quincessentials  blog.