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Helen Money Interview: Because “Alison Chesley and Friends” Just Wouldn’t Have Worked

Posted in Features on October 15th, 2009 by JJ Koczan

This wasn't originally going to be the lead shot, but it rules too much not to use. (Photo by Alan Rovge)Cello experimentalist Alison Chesley is set to launch a US tour in two weeks to support her second album under the banner of Helen Money, In Tune (review here). Her label debut for Radium/Table of the Elements, In Tune builds on the creative success of 2007’s Helen Money, on which Chesley showcased her talent for composing rich cello-based pieces around a multitude of effects. On In Tune, as she explains in the interview following, she attempts to up her songwriting technique and steer away from relying to heavily on her array of pedals.

A solo instrumental performer, Chesley as Helen Money crafts an engaging and hypnotic atmosphere on In Tune, and given the progress and confidence displayed from one album to the next, I’m already looking forward to her third outing. In the meantime, Oct. 31-Nov. 30 tour dates are posted on her MySpace, and she was kind enough to take time out for the phoner transcribed here after the jump. Please enjoy.

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Helen Money: In Tune and Far Out

Posted in Reviews on October 7th, 2009 by JJ Koczan

Not sure of the significance of the origami dollar bird, but I dig it.Having been a big nerd for Helen Money?s last album, 2007?s Helen Money, I was excited to see that Chicago-based cellist Alison Chesley (ex-Verbow), who for now is the only member of the band Helen Money (no relation to Eddie) was issuing a follow-up. With a release through avant garde label Table of the Elements/Radium, In Tune finds Chesley and her cello — which is the only instrument present throughout — covering The Minutemen and making short work of expectations in general. That seems to be what she does.

In her effort, she?s aided by a Sanford Parker mix and an effects board that would make guitarists salivate. Right away on ?MF,? Chesley brings two sides of her playing style together to create an explorative artistic nuance. She toys with structure throughout In Tune, on the second and title track blending acoustic, un-altered cello meeting with distorted riffing (yes, a cello can riff) in looped madness like something BernardHermann-gone-evil-psychedelic-scientist might prescribe. It is an exercise in contradiction. There are no vocals, no drums, no bass or guitar, and yet Chesley harnesses a rock disposition naturally. Her contributions to the likes of Mono and Russian Circles place her well into the realms of the heavy alternative, and the atmospheres of ?Untilted? and brooding later cut ?Too Heavy? speak of a focus on evocative musical bleakness.

Experimental cello black metal? Yeah, probably not, but it?s a thought. Fits in that genre about as easily as any other.

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