Violinist Hezron Chetty recently released his highly anticipated debut album “The Fallacy of Composition”, an extraordinary arrangement of classical instrumentalism tied with a ribbon of ever-relatable modernism. The eleven-track album boasts a collection of incredible instrumental techniques, all held beneath the umbrella of the slightly elusive album title. Chetty, who plays his intriguing post-modern compositions through a loop station, holds a unique position in our local music scene and is set to share the stage with Arno Carstens at his Kirstenbosch concert later this year.
African-esque percussive effects of marimba and drums lay the foundation for almost every track and these are particularly evident in the opening song, ‘Chasing Kings’. The unusual use of the violin, employed in a number of alternating methods produces a vaguely modernised folk sound, injected with an array of frantic moments which provide several brief glimpses into the classical roots of the instrument.
Chetty is swift to exhibit the multiple uses of the instrument throughout the album. ‘Violence in Africa’ employs a pizzicato technique, in which he plucks the violin like a guitar, producing a pattering staccato tempo which is further enhanced with pronounced percussion. Holding true to the title, this track incorporates stark African roots – from the percussive effects to the deep male hums which pepper the track, there is a deeply tribal sound which seeps through the music.
There is a collection of contrasts found in “The Fallacy of Composition”, exhibited in the simultaneous incorporation of classical, folk and African elements. His sound is vaguely reminiscent of DNA Strings, a local instrumental band I came across at Splashy Fen several years ago, in the seamless use of culture-binding musical rudiments. ‘The Damned Gypsy’ is the first song in which the looping of violin is clearly apparent. A Celtic, Irish-fiddle technique is applied in this track, with claps and a steady, rhythmic baseline which evokes a deceptively cheery sound which later falls into a somewhat menacingly dark, off-kilter melody.
‘Sounds Like the Movies’ builds upon dramatic layers of violin before it veers in a strikingly upbeat direction, while ‘Unique Ambition’, though still exhibiting some remarkable touches, is a disappointingly samey. The rest of the album is comprised of solo versions of the songs. Although primarily violin-centric with an obvious prevailing melody dominating each track, the album is surprisingly diverse in terms of instrumentalism, as Hezron Chetty dishes an incredible amount of talent onto his symphonic platter.
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Listen to “The Fallacy of Composition” below on Deezer.
