The Duel is the latest release from New Brunswick multi-instrumentalist and composer Zachary Greer. We have previously introduced the single “Final Breath,” and described The Duel as a film soundtrack to a historical drama that doesn’t exist; a tragedy based on the story of the last fatal duel in New Brunswick between George Frederick Street and George Ludlow Wetmore.
The Duel is a mostly instrumental collection of pieces orbiting around a central motif. This motif is introduced at the very top of the first track, “Hatred On The Wind,” then carried and danced around for the duration. It also represents the one assumption Greer gives himself as artistic license; guilt.
“I guess the part that I added for the characters was the guilt aspect that is like a trope of the human condition and how Street carries the guilt of what he did until his demise. That theme is played at the very beginning on the viola by Mark Kleyn and that is the theme that inspired all the music and you hear it reiterated throughout the album,” says Greer.
The music itself is dramatic and tense but rooted in the quotidian. It succeeds in projecting a sense of everyday people marching towards a dark fate. Acoustic folk sounds reminiscent of old Northern Britain serve to place the listener in The Maritimes at the dawn of the 19th century. The Duel is a textural work composed of a narrow but focussed set of string voices, with minimal, primitive, at times martial percussion sprinkled in for effect. It all culminates in the aforementioned “Final Breath,” a vocal collaboration with modern-classical duo Pallmer, which serves to remind you that this story of old is being told anew.
The Duel is a recording of impressive, nuanced performances captured in detail with a very natural sound. The visceral expressiveness of the acoustic instruments is pushed far by performers and composer alike, as the work effortlessly exudes serenity and beauty, but also drama and grit. There is a clear synchronicity between collaborators that makes the final product remarkably consistent in its quality.
“The album also features Ali Johnson on violin who I’ve worked with on my other projects like Bloodletting,” notes Greer. “She is a great musician and also has the ability to blend the traditional style with a more contemporary approach. We also just have a very collaborative relationship now which is great because I can experiment with composing on the spot and she’s comfortable just doing things on the fly. I’m very fortunate to have been able to work with such great musicians.”
All that is left now is for some bold Maritime artists to add narrative media to Greer’s excellent work, and bring forth a tridimensional retelling of this tragic Maritime tale. In the meantime, soundtrack enthusiasts and those who don’t mind plenty of drama with their instrumentals will find ample room for reflection and quiet company in The Duel.