<\/a><\/p>\nThis leads me to perhaps my favorite thing about Alexis Ffrench, which is that he is an artist that is dead-set on challenging the way classical music <\/span>is<\/span><\/i>. You couldn\u2019t call this album a classical album, but really you couldn\u2019t <\/span>not<\/span><\/i> call it that either. You couldn\u2019t really call it much of anything except <\/span>Evolution.<\/span><\/i><\/p>\nIn his bio, he reflects on a night watching the BBC Proms, looking out into the audience, and noticing a lack of diversity in the audience. As he was watching this, an announcer on the program remarks \u201cWho says classical music is dead?\u201d to which Alexis replies: \u201c<\/span>There is no room for complacency in this regard.\u201d<\/span><\/i><\/p>\nWhere classical music is concerned, we still have a major job to do in removing perceived barriers. It\u2019s incredibly important to me, and I feel we all have a duty to speak out and encourage positive change.\u00a0\u2014 Ffrench<\/span><\/i><\/p><\/blockquote>\nHe makes pointed and accurate statements about classical music culture as it is a profession that is predominantly white. Even when programming concerts of diverse music, where composers are not necessarily all white, that music is still often curated, performed, and patronized by white people. Considering all of the styles he has brought into this album, Ffrench is asking classical music to take a step out of where it is and tread new ground. <\/span><\/p>\nIt\u2019s going to be a huge album in terms of its broad appeal and the way it crosses over all genres to reach all audiences. In the near future, I would love to look out at Last Night of the Proms and see a welcome mixture of white, brown and black faces, with people of all backgrounds. That would prove to me that classical music is alive and adaptable and I see myself as an artist who can help to lead the change.\u00a0\u2014 Ffrench<\/span><\/i><\/p><\/blockquote>\nEvolution<\/span><\/i> represents Ffrench\u2019s latest and arguably his most direct step yet towards achieving this goal, and so we have to wonder how much further this album takes us towards that. Musically, he takes significant steps towards integrating pop, R&B, and classical elements, but this is confined to the harmony and melodic aspects of each track. I\u2019m left wanting so much more in terms of the types of <\/span>rhythmic <\/span><\/i>styles that represent these genres of music. I feel as if the album is firmly rooted in the stylistic traditions of the western classical orchestra and popular idioms. The instrumentation is incredibly conventional in this sense, and we hear little deviation from the piano-orchestra dichotomy that saturates the album. I think more diversity in this sense would achieve an electric relationship between what we know and what we can imagine a musical divergence like this could be, and especially how those sounds could change our perspective on classical music.<\/span><\/p>\nAlexis Ffrench is a listener above all else, and it will be interesting to see what new sounds he incorporates into his music as it continues to develop. He is a researcher and an artist, so anything could happen.<\/span><\/p>\n
\nAnthony LaBat<\/strong> is a flutist, writer, and archivist working out of Kansas City, Missouri. A devout fan of the weird and \u201cgoing down that rabbit hole\u201d, he is also tragically obsessed with details and their context. Anthony serves as Production Coordinator and flutist for newEar Contemporary Ensemble, and sees music making as an act of community engagement. In writing, artists can empower each other through meaningful dialogue and criticism. Through meaningful dialogue and criticism, artists have limitless opportunities to widen perspectives, welcome new ones, and help each other create art that engages the whole of our community.<\/p>\n","protected":false},"excerpt":{"rendered":"By Anthony LaBat, Special to The Sybaritic Singer How do you begin to talk about an artist like Alexis Ffrench? As someone new to his music, this only got more difficult as time went on, and that\u2019s mostly 1) because I take days worth of notes before penning these, and 2) because there\u2019s so much […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","wds_primary_category":0,"footnotes":""},"categories":[1362,138],"tags":[1396,1398,1397],"class_list":{"0":"post-87828","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-album-review","7":"category-guest","8":"tag-alexis-ffrench","9":"tag-anthony-labat","10":"tag-evolution","11":"entry","12":"has-post-thumbnail"},"_links":{"self":[{"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/posts\/87828","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/comments?post=87828"}],"version-history":[{"count":3,"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/posts\/87828\/revisions"}],"predecessor-version":[{"id":87832,"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/posts\/87828\/revisions\/87832"}],"wp:attachment":[{"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/media?parent=87828"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/categories?post=87828"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/sybariticsinger.com\/wp-json\/wp\/v2\/tags?post=87828"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}