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Mu­sic by Alexan­der Mosolov and Kisses

MOSOLOV Iron Foundry, Pi­ano Con­certo No. 1 (Capriccio)

If lis­ten­ers know Alexan­der Mosolov at all, it is through his

Iron Foundry, a move­ment from his 1926-1927 bal­let Steel, in which, for three and a half min­utes, a large and loud sym­phony orches­tra evokes the creak­ing, squeak­ing, groan­ing, and ham­mer­ing of an in­dus­trial foundry. This CD, in which Jo­hannes Kal­itzke con­ducts the Ber­lin Ra­dio Sym­phony Orches­tra and pi­ano soloist St­ef­fen Sch­leier­ma­cher, pro­vides a broader glimpse of the com­poser’s out­put, and it turns out that Iron Foundry was char­ac­ter­is­tic of his style rather than a one-off trick. In fact, his Pi­ano Con­certo No. 1 (1927) — more a sin­fo­nia con­cer­tante with pi­ano than a tra­di­tional vir­tu­oso show­piece — goes a step fur­ther in places, some­times sug­gest­ing The Rite of Spring ona dou­ble dose of steroids. His Pi­ano Sonata No. 1 (1924) is a ri­otous ex­er­cise in crash-boom-bang; you might mis­take it for some­one pound­ing out mon­u­men­tal frus­tra­tions on a con­cert grand. Mosolov was a mu­si­cal Con­struc­tivist, a coun­ter­part to artists like Alexan­der Rod­chenko and Vladimir Tatlin. You might think the Sovi­ets would have con­grat­u­lated him for em­body­ing the ideals of a na­tion whose suc­cess was mea­sured by pro­duc­tiv­ity on farms and in fac­to­ries; an­other move­ment in Steel even de­picts a trac­tor crash­ing through a bu­colic scene. But no: In­stead they im­pris­oned him for “coun­ter­rev­o­lu­tion­ary pro­pa­ganda.” This col­lec­tion pro­vides long-over­due recog­ni­tion and can­not fail to get the adren­a­line flow­ing. — James M. Keller

KISSES Rest in Par­adise (Hit City USA) Zinzi Ed­mund­son and Jesse Kivel do a lot more than watch Net­flix and veg­e­tate on the couch at night. To­gether they form the duo Kisses, which plays neon-hued disco num­bers. As we’re now more than 35 years from disco’s hey­day, Kisses’ sound comes across as a copy of a copy of a copy — and that’s part of the charm. This may come down to Kivel’s dis­arm­ing, midrange vo­cals, but the group’s al­bums are warm and de­light­fully blurry. Now mar­ried and with a child, the two could be for­given if they opted for in­ti­mate songs of do­mes­tic bliss. Quite the op­po­site: Rest

in Par­adise is the most open and com­mu­nal-minded of their records yet. A duo that once sang pri­vate whis­pers about “go­ing to a nice steak din­ner, just me and you,” they now em­body a rich, full-band sound, aided in part by mem­bers of the group Mid­night Magic. The re­sults in­clude more ro­bust drums and bass, a heavy side or­der of hand claps, and a wider range of tem­pos and tex­tures. In­stru­men­tal opener “Par­adise Wait­ing Room” and back-to-back songs “Sun” and “Con­trol” show a deeper range of record­ing skill than Kisses has shown yet. “The Nile” con­tin­ues the straight­for­ward disco they’re best known for, only this time with a heavy Talk­ing Heads feel. It seems this band has found its place. — Robert Ker

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