The last four years have been a challenge for personkind. First came the pandemic, the fear of the unknown, societal isolation and the challenges that brought. The need to find solace in solitude was perhaps best found not through the screens of devices that brought only grim negativity but through reflection enhanced by books and recorded music. Instrumental compositions often provide introspection as well as inspiration.

Add to these creative trials the increasing turmoil of our weather systems, the understanding that there are perhaps more people on the planet that can be healthily be supported. Human actions have certainly contributed to climate change. Thus the quotidian stress can be considerable. Finding relief through musical escape is most welcome.

For many creative people the pandemic shutdown perhaps afforded more time to paint, compose and write. And share the fruits of their labours. One such soul is Montréal’s Valmar Kurol, who first came to this writer’s attention back in 1999 with the release of Antarctic Arrival, a lovely CD composed in tandem with Marc-André Bourbonnais giving tribute to a frozen land. I had the pleasure of writing about this recording in “Meie Elu’s” English language section, establishing in the process a personal fascination for the distant continent, as well as continuing contact with Kurol. Since that musical introduction to Antarctica’s wonders a quarter century ago Kurol and his present musical collaborator Michael Stibor have released six further albums exploring what Antarctica can sound like. Interestingly, since the onset of the pandemic the duo have been very prolific – four CDs of splendid instrumental styling in four years, inspired by many genres such as blues, rock, reggae, calypso and samba have reached these ears.

Their latest, Shards from Antarctica arrived in Toronto, no thanks to Canada Post, which has in their greedy maw the first mailing but Purolator got the job done. (Which also means that once the postal strike ends this writer perhaps will be able to share the music as a Christmas present for a deserving loved one). Once again, even before popping the disc into the Bose – a quality CD player adds so much to the Antarctic experience – the cover and the accompanying booklet provided visual pleasure. The cover art is, as always eye-catching; Michael Valcenat’s graphics are exquisite as are Kurol’s photographs. As has been the case with every CD his liner notes are thoughtful and educational, particularly with regard to Antarctic activities and research of a continent that is 98% covered by ice but home to a myriad of species, both fauna and flora.

As Stibor’s introductory notes emphasize the album continues to expand and broaden the perception of what music related to Antarctica can sound like. Thus further developing the expressions found in the musical sketches of 2023’s Shades of Antarctica and 2022’s rocking Mysteries of Antarctica, which provided considerable – and regular – cheer and enjoyment during trying days. And still do.

Shards of Antarctica shows the depth and musical maturity of the duo. As Kurol’s own introduction notes the recording brings to the fore the “mixture of styles and themes that are mere shards of the range of emotions and interests that Antarctica may inspire.” The album notes expand on this thought, all nine cuts are introduced, beginning with “Happiness is ice”, an ode of joy to ice, the “remarkable solid state of water that acts as the earth’s thermostat” which, alas is melting at an alarming rate, sure to bring about a devastation of unimaginable levels. The final cut, “Lush green snow” focuses on the short spring season on the frozen continent, when green algae blooms en masse. Thus providing a colorful picture of the complex algal ecosystem found there.

Not only whales, seals and penguins are dependent on the ice for breeding and food. The whimsically titled “Water bears are moss piglets” focus on introducing the listener to the existence of microscopic invertebrates called tardigrades but known by scientists commonly as what the title describes. This hardy species hibernates, comes to life in the short summer season, living in water drops in the soil and moss. They have four pairs of legs with claws and suction discs, two eyes and a mouth. Fascinating.

These instrumental pieces vary in style but can be grouped into MOR, middle of the road with two notable exceptions. “Loneliest continent blues” is a composition that riffs on the predominating themes of the genre, sadness and hard times. Appropriate as due to its isolation and bleakness Antarctica is often called the loneliest continent.

And expanding on the ecological, environmental impact of human activity Carole Desmarteau, Valmar’s wife contributes a rousing melodic track, “Oh Mama Earth”. It’s all bad news for Gaia lately, as Kurol notes – garbage and industrial toxins, pollution everywhere, species extinction, floods, fires, pestilence and war. However, rather than dwell on that and deliver an eulogy this is a bouncy R&B number featuring Stibor’s excellent guitar solos which more than complement his keyboard skills. A hopeful finish to a tune that begins with a sigh, but certainly ends in a rousing chorus of hope.

As with every Kurol CD release more is available online. Visit www.shardsfromantarctica.com , Spotify, YouTube. This album is sure to warm up the upcoming winter nights and generate much needed positivism in our age of gloom and doom.

TÕNU NAELAPEA

Eestlased Kanadas

TRENDING