The Sway Machinery promises that its 3rd LP, ‘Purity and Danger,’ is its ‘most chiseled enunciation of its foundational concept’ yet — and it delivers on this promise.
I’ve been spending the morning pacing around the house singing Kol Nidre while my two-year-old son Jacob toddles about playing with his toys. Just like every year, it seems, the High Holidays arrive to find my life in a startling upheaval of activity, with the world swinging back into movement after the sultry months of summer. And it seems that every year I wait until the day before erev Yom Kippur to practice Kol Nidre. I have just a few hours before I will be singing it again for the expectant Jews, their viscera open in that particular way that Yom Kipur operates on the Jewish psyche.
My musically sophisticated Orthodox friends often tell me that they are not interested in Jewish music. It’s not hard to see why. If you take the material produced by the Orthodox pop industry, it’s often just the frum equivalent of Justin Timberlake, or over-produced boys choirs backed up by obnoxious electronics and phony string arrangements.
I was pleased to see a profile in the New York Times on July 20 of the unusual cantorial-music-aficionado-turned-audiophile-sound-engineer Mendel Werdyger. Werdyger is the proprietor of Mostly Music, one of the last bastions of old school Jewish culture in New York City. While you can certainly buy the standard schlock recordings of Hasidic boys choirs there, the shop is also rich with reissues of powerful cantorial records and classics of Yiddish theater and Hasidic music.
Eclecticism is a virtue too often touted by musicians and critics. Reviews and press releases formulaically repeat the cliché that “artist x blends elements of genre y with style z.” While this may be relevant to the archivists amongst us, such statements really say very little about the quality or authenticity of the music in question.