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Music

Auktyon: Top

Photo: Vladimir Lavrishchev

Art-jazz-prog rock from Russia with love. Weird, wild stuff, but also very good.

Auktyon

Yula

Label: Geometriya
US Release Date: 2012-02-11
UK Release Date: 2011-11-07
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Veteran Russian group Auktyon has returned after four quiet years with their latest album, yet another blend of disparate influences ranging from their home country's folk stylings to American jazz, traditional Middle Eastern music and Caribbean music all filtered through a decidedly un-traditional sensibility. Call it 'fusion', call it 'art rock', call it whatever you want. I'll just call it 'damn good'.

The band's sound is and always has been difficult to pin down in every sense of the phrase. From the opener "Ogon" starting off with a potluck of odd sounds conjured up by the instrumentalists that eventually segues into an off-kilter 5/4 beat, things tend to be rather slippery in terms of rhythm and specific points of reference. This feeling doesn't let up for most of the album, with just a few spots throughout where the listener can pick up on ideas that call to mind more mainstream musical ideas.

The instrumentation throughout the album is used in extremely effective ways. Despite the fact that there are nine members of the group, there is no real point where any single one of them seems to overshadow the rest. There are no solos to speak of except during the earlier part of "Letuchaya", instead there are only passages where the group plays little phrases and motifs off of each other. This temperance of orchestration is a very important part of managing a cohesive musical unit, and Auktyon does it well. It's the typical 'the whole being greater than the sum of its parts' thing that all great bands exercise. The instrumentation is also a big part of what makes Auktyon sound unlike most other groups. They combine instruments typically associated with antiquated forms of music, such as trumpet and violin with instruments from slightly older types of music like the saxophone and the upright bass, and lastly adding instruments from much more modern styles like keyboards and electric guitar. It's almost like the lineup of a ska band, but the compositions here take that lineup in much more interesting directions by exploring and combining a number genres. Look to the trio of short songs in the middle of the album for evidence of this. In a whirlwind of styles, the dark funk of "Meteli" leads into the soft, beautiful meditation of "Shishki" before landing in the stomping gypsy-dance of "Polden", all over the course of about seven minutes.

Another great element of groups looking to push the musical envelope is how well they can pull off things that are actually quite a bit more sophisticated while making them sound easy, and oftentimes doing so without the listener even notice the potentially awkward musical passages that use these techniques. For instance, the modulations that appear in the latter half of "Letuchaya" and the use of structure in "Khozanyi". It starts off sounding like a Radiohead outtake before falling apart without warning and transforming into a verse-chorus pattern. The difference here is that when the verses come around, the song almost completely falls apart before being rebuilt in time for the chorus. So that's the kind of conventional song structure you get from Auktyon. Elsewhere, the band deftly maneuvers complex time signatures with ease, such as the 7/8 of "Mimo". In "Priroda" they even manage to pull off an astounding hat trick -- not only is the song in the unusual time signature of 5/4, but the instruments are largely fighting each other in a complicated polyrhythmic structure. The astounding part is that this is, by far, the most danceable track on the album.

Like any great art rock group, they prove that they are more than capable of writing in a more pop style if they so desire, and when they fold this into their overall aesthetic they end up with something tempered by simplistic yet powerful melodicism squaring off with the more bizarre incursions. This approach results in the two best songs on the album, "Letuchaya" and "Karandoshi I Palochki". The former starts off like a typical jazz piece not unlike something that might be heard on a swing record. A few minutes in there is a shift to a minor key and carries on in the new tonality for a while before briefly reprising "Ogon" from earlier in the album (albeit in a rhythmically shifted form) before finally shifting back to the original theme. Even better is the latter song, which starts as an uplifting, quasi-anthem complete with heavy, distorted power chords before setting off into far darker territory. It sounds like a Greek hero traveling to Hell and back, right down to the howling and speaking-in-tongues, before slowly crawling back out, battered but triumphant. Powerful stuff.

The band has a certain skill for creating tension through its use of dynamics and harmony, showcased well in "Homba", where most of the instruments barely rise above a whisper throughout. A propulsive, repetitive bass line fuels the song as seemingly traditional chord progressions go into somewhat unfamiliar, uncomfortable places. The tension is palatable, and the band manages to avoid the traditional convention of releasing all of that tension by suddenly shifting to a louder volume. It's a nerve-wracking fake-out for listeners so used to the cliche loud-soft-loud song forms employed by so many rock groups in the post-Nirvana musical landscape. Not so surprising, though, considering the fact that these guys have been around in one form or another since the late 1970s.

A similar effect is employed on the titular album-closer. This song sounds like a man's resigned race to the grave, with the soft but hectic percussion urging him on, and the call-and-response between the vocalist and the instruments acting as some sort of deathbed communion with otherworldly forces. The placing of this song, most probably the darkest-sounding of the whole work, as the last on the album makes it quite clear that this is indeed coming from a Russian group; anyone who has read Russian literature knows that the entire culture is infused with the dourness that comes from influences both political and environmental. Maybe the best term for it would 'bummer rock'. This is in no way meant to be a denigrating term. Just the opposite, in fact, as this is music that is very powerful in its ability to cast a gloom over one's heart and mind. But, as in the case of the more relatively upbeat tracks, it also has the ability to lift one's spirits, and this is a testament to the quality of a group. That they can so deftly traverse the emotional spectrum speaks volumes of their abilities in terms of both composition and execution. Put simply, this is a fantastic album and comes highly recommended.

7
Culture

Spawning Ground

David Antrobus

In this ancient place of giant ferns and cedars, it seems the dead outnumber the living; the living fall away too quietly, too easily, taken away by stealth. There is tremendous natural beauty here, but its hold is tenuous, like moss clinging to rotting bark that will ultimately break and sink into the forest floor.

If I were to choose a visual symbol of my adopted home of Mission, an average-size town in the impossibly green western Canadian province of British Columbia, I would probably come up with a rotting carcass in a verdant pasture, a vision of death amid life. If this sounds harsh, hear me out and I'll tell my own truth about this place.

Clinging to the swift-scoured, salmon-haunted northern bank of the mighty Fraser River like an ailing lamprey to the deadly smooth flank of a Great White, this town, situated about 70 kilometers east of Vancouver, owes its entire existence to the water of its rivers and lakes, and to the wood harvested from the dense, surrounding forest. Settled in the mid-19th century, Mission has managed to survive despite two serious floods, a bridge collapse, the ominous early signs of malaise in the natural resource sector (did we really think the salmon and the great conifers were infinitely, magically renewable?), and a general reputation for unfocussed, redneck belligerence.

It all comes down to the Fraser River. The river has brought both food and trade; it provides a thoroughfare upon which the people of Mission (among others) float the great log booms that are the defeated renderings we humans fashion from the vast tracts of coastal rainforest (cedar, spruce, fir, hemlock) in our seemingly inexhaustible compulsion to exploit her resources and bring Mother Nature to her matronly knees — in part because (we believe) we can.

But the details about life in this town — the jeweler murdered in a robbery, the pretty high school graduate killed by a drunk driver, the 14-year-old suicide — in fact, all the jostling narratives crowding like paparazzi, each insisting on exclusive front page drama, bubble and coalesce and ultimately conspire to reveal the hidden Mission. There is a dark vortex lurking beneath the seemingly placid surface; the ominous shadow of something ancient beneath sun-dappled waters. Even the countless apparent banalities playing out on the town's rural borders disguise something deeper, more clandestine: the hobby farmer up in MacConnell Creek bemoaning his exhausted well; the entrepreneur hungry for an investment opportunity, eager to transform the hillsides of quiet, bucolic Silverdale into sudden, lockstep suburbia; the hiker mauled by a black bear in the mountains north of Steelhead. And always, the numerous lives derailed by marijuana grow-op busts. For all the gradual liberalisation of laws at the consumer end of this local economic rival to wood and water, those who supply the celebrated crop usually feel the full force of Canadian justice, anyway. There are times when nothing in Mission seems devoid of some kind of meaning.

A monastery sits above this town, a Benedictine haven of alternating silence and the evocative clatter of Sunday Matins bells. Its tower is phallic and disproportionately defiant, rising above the landscape like a giant darning needle, casting its intrusive shadow over the patchwork quilt of human settlement as if to stitch a final tableaux, symbolically and definitively, of the history of the original inhabitants and their mistreatment at the hands of the white settlers. Said inhabitants were (and are) the Stó:lo people (their language, Halq'eméylem, was an exclusively oral tradition, so the words are spelled phonetically nowadays). Stó:lo territory stretched along the river valley from present-day Vancouver to Yale in the Fraser Canyon, a 170 kilometer swath of virgin, fecund land, teeming with such totemic creatures as salmon, ancient sturgeon, deer, black bear, cougar, coyote, beaver, and wolf.

The Stó:lo, a Native American (or First Nations) people belonging to the larger group of Central Coast Salish, settled this area around 10,000 years ago. Europeans, attracted by rumours of gold, arrived in the 1850s. The resulting clash of cultures did not work out well for the indigenous people, and today they are still recovering from the trickle-down effects of at least one generation having been torn from its extended family. Residential schools, for which the monastery in Mission is a present-day symbol, were sites of a particularly virulent form of cultural genocide. First Nations children across Canada were taken from their homes, often exposed to physical and sexual abuse and occasionally murder, their mouths scoured with soap if they even dared to utter their own languages. St. Mary's in Mission, founded in 1861 and relinquished in 1984, was the last residential school in Canada to close.

There are 82 Indian Reserves in the Fraser Valley. There are eight correctional institutions, two in Mission alone (Aboriginal people represent around four percent of the Canadian population, yet account for 18 percent of the federally incarcerated population). Somebody — something? — really likes to control and segregate people, around here.

This fragmentation is reflected in the odd demographics of the town in general. Leaving their multicultural mark have been, at various times, Italians in Silverdale, Swedes in Silverhill, the French in Durieu, the Japanese in the early years of the fruit industry (as in the US, the Japanese were rewarded for their labours by being sent to internment camps in 1942), and immigrants from India in the early days of the shake and shingle mills. (The Western Red Cedar, with its straight grain, durability, and imperviousness to the incessant rain, while inspiring Native culture with the quixotic grandeur of totem poles, grabbed more prosaic European imaginations in the form of the shake and shingle industry, which provides reliable roofing and siding components for homes.)

In some ways, Mission is a vibrantly conflicted example of Canada's multicultural mosaic. With just over 30,000 residents (of which 3,000 are First Nations) mostly crammed into a relatively small area, bordered by the river to the south and the mountains to the north, mill workers and biker gangs, artists and Mennonites, muscle car boys and summer folkies, soccer moms and Sikh Temple-goers, merchants and pagans, Freemasons and caffeine addicts, street people and Renaissance Faire anachronisms all rub shoulders with varying degrees of friction, occasionally achieving harmony in spite of themselves. Perhaps the relative accord is due to the overall youth of the population (73 percent are under 35-years-old).

Earlier, I mentioned the presence of death. Why? Because it is everywhere here, its proximity eerily palpable. It inhabits the sly rustle of the towering conifers. It taints the air with the swampy pungency of skunk cabbage in springtime. It hums incessantly in the sub-woofer buzz of the hydroelectric dams. It shuffles along in the downcast, scuff-shoed limp of a lone child returning to a chilly home. From a distance, even the monks in their dark cassocks, knit-browed and bound by their vows of silence, seem eerily close to the Reaper caricature. For actual evidence of its pervasiveness, though, one need not go far back in time.

The bodies of three women were dumped between here and neighbouring Agassiz back in '95. Suicides and the furtive aftermath of murder, barely registering in the town at all, have spattered Burma Road, a potholed strip of rocks and dirt skirting the shore of Stave Lake. In 1997, Doug Holtam of Silverdale (a small community west of Mission) bludgeoned his pregnant wife and six-year-old daughter to death with a hammer. Against all odds, his young son Cody survived the attack. In 1995, a drunk driver, leaving in his wake not only the proverbial outpouring of community grief but also a devastated twin sister, killed 18-year-old Cindy Verhulst during the week she and her peers were busy celebrating their high school graduation. There was the little boy who slipped away from his day care centre and drowned in the swollen Fraser River. The 12-year-old boy found hanging from a school washroom towel dispenser. The elderly pilot whose body was discovered in dense forest a full two years after he had gone missing. And there was Dawn-Marie Wesley, a 14-year-old Native girl who took her own life in the basement of her home after enduring relentless bullying at school; barely noticed in life, Oprah material in death.

As disturbing and tragic as these stories are, however, there was little precedent for the breaking news in the summer of 2003. This one will need a little background.

Since the mid-'80s, women have been disappearing from Vancouver's Downtown Eastside, Canada's poorest postal code. Partly due to the initial incompetence of the Vancouver Police Department and jurisdictional issues with the Royal Canadian Mounted Police (RCMP), partly due to the amorphous (read: investigative nightmare) nature of the disappearances, and partly because so few people cared about missing hookers and addicts, more and more women went missing, with nary a ripple in the public consciousness (or conscience). In fact, as of this writing, a horrifying total of 65 individuals are currently on the Missing Women list. For years, law enforcement didn't even refer to their disappearance as crimes, and it wasn't until 1998 that an official task force was even assigned to investigate.

Finally, in February 2002, Robert William Pickton, a pig farmer from the Vancouver suburb of Port Coquitlam (approximately half way between Vancouver and Mission), was charged with two counts of first-degree murder of two of the missing women. More charges followed in the months ahead. Pickton currently faces 15 counts of first-degree murder with seven more expected. DNA samples of 31 women have been linked to his 10-acre farm. In short, potentially the largest serial murder case in Canadian history is now underway just 35 kilometers from Mission.

Given the frequent intrusion of death into the area, I suppose it should have surprised no one when, on 20 July 2003, the missing women's joint task force announced they would be searching an area of wetlands near Mission. Just south of Highway 7 (aka the Lougheed Highway) and the man-made body of water known as Silvermere (itself the subject of a delightfully creepy urban legend or two), the area is basically marshland bisected by a meandering slough. Immediately following the announcement of the search, the site was fenced off with temporary chain link, and the highway's wide shoulders — traditionally home to roadside fruit and flower vendors hawking their locally grown products — were suddenly and unequivocally off-limits.

Driving this formerly innocuous stretch of blacktop, especially under the after-dusk arc lights, with their swirling bug armadas and liquid island oases in the dark, now touched off an indescribably eerie feeling. It was a relief when, on 8 August, the entire ensemble of law enforcement personnel (numerous forensic investigators plus 52 anthropologists) took up their tools again and vanished. They gave no word of what they had uncovered or even whether anything had been found at all, leaving our community to its familiar, fitful dreams once more. Mission's part in this unfolding story, as it relates to the wider world, remains amorphous and indistinct, with its usual chilly glints of barely suppressed horror flickering amid the overall grey.

Here, it seems, empirical proof takes a back seat to rumour and anecdote every time.

Sometimes, while hiking alone in the tree-bejeweled mountains west of Steelhead, east of the dams, I have suddenly felt the fetid breath of graves, a harsh raven-shadow lurking behind the abundant emerald and olive greens of this sodden paradise. Inexplicable noises in the deep tangled brush; distant rending, gnashing. Something skulking and hungry. With all the assured rationality of the white male immigrant, I've been known to smirk at the idea of ghosts, and yet stumbling along a jade-tunnel trail bristling with old man's beard and devil's club, I've occasionally recoiled from something, the skin of my arms prickling with gooseflesh. There are spirits here, all right, something not too far removed from the capricious tricksters who inhabit indigenous myth. Spectres of a kind, nursing some nameless, hollow ache of unrequited need rendered manifest, paradoxically, by a landscape dripping with life.

The closest we Europeans get to perceiving this (however inadvertently) can be heard in the low extended rumble of the nighttime freight trains as they call out in the dark, hunching parallel to Railway Avenue long after most residents are asleep, lonely as a buffalo herd that's somehow seen and almost comprehended its own approaching ruin.

Of course, my telling is by no means the complete, illustrated history of Mission, a town that can barely hold onto its own name (since 1884, take your pick: St. Mary's Mission, Mission Junction, Mission City, Village of Mission, Town of Mission, and currently the District of Mission). Not by a long shot; this lurid splash portrays but a small corner of the canvas. How can any one person paint the full picture of a community, after all? No, despite my perverse zeal to stir the viscous mud below the bright surface, great deeds and happy memories adorn the history of this place, too, adding the sparkle and lustre of life above and hopefully beyond the stillness and silence. And yet, no matter how much joie de vivre this community may exhibit on its special days, like a red-carpet celebrity when the cameras start rolling — whether it be the laughing children with their maple leaf flags and pancake stacks celebrating Canada Day up at Heritage Park, or the benevolently stoned crowd at the annual Folk Festival, or even the choked air and sharp adrenaline at the Raceway — surely one thing cannot go unremarked: nearly half of those missing-presumed-dead women were of Aboriginal descent. This adds one more layer of indifference to a jaded populace apparently caught somewhere between the small town rural cruelties of its past and the uneasy suburban shrugs of its gathering future.

I know this. I worked with the street kid population here for years, witnessed their hardscrabble resilience. Few people ever gave a genuine damn about the plight of these children, even though some of the throwaways had not yet reached puberty. Two-thirds of street-involved youth in Mission are Aboriginal. Many are sexually exploited by family members, neighbors, pimps and selected citizens, but few speak of it. Some of these kids head west to Vancouver for a date with misery, stretching already tenuous community ties to the breaking point. My job as a street worker was to speak for these lost children, to ensure some semblance of the child welfare system would kick in through advocacy with social workers or teachers or families or counselors or probation officers. In a world in which the so-called "bottom line" — money and the politics of money — has become drawn too garishly, these already marginalized youth were, and continue to be, largely abandoned by a system designed to protect them. Sometimes I stand beside the town's failing heart, its run down main drag (1st Avenue), taking in the pawnshops and thrift outlets and dollar stores, and I'm convinced I truly hate this place... but only because I've loved it so deeply. In life: death. In death: life. The great inscrutable cycle.

In this way, the perennially troubled summer Pow Wow, always skirting the edge of ruin (corrupt, inept politics and sporadic funding, take a bow), yet often prevailing regardless, seems to me a far more accurate symbol of the clutching, ragged breaths that secretly haunt the sleep of this community. The fleeting vibrant colours of traditional dancers whirling in bright regalia — poignant as the plumage of endangered birds, flying amongst the high wailing melismas of the Northern-style singing and the vital, aorta-punching drums of the circles — somehow speaks more of an unavenged wound in time and place, set amid the cruelty that underlies so much beauty, than anything else this conflicted human settlement seems capable of offering.

An absurd contrast, really — this vibrant gathering and the judgmental silence of all those surrounding stories of the dead — the whole place holding its breath waiting for these mortal sorrows to purge themselves before the pristine lawns and asphalt and vinyl sidings are allowed to spread and eventually suffocate every fucking thing that ever felt like something here.

For here, tenacious as the town itself alongside relentless churning waters, the living will no doubt cling to hope and the perpetual dream of life until the muscled river — unnoticed, stealthy, taken for granted — wrestles away everything (horror, joy, splintered wood and the final word) at long last, sending it all tumbling toward the planet's dark and pitiless seas for good.

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