The human voice is a wonderfully flexible instrument, capable of conveying many layers of emotion and texture. Long before we had man-made instruments to create sound, the voice provided a wide range of music to accompany any occasion, from daily labor to celebratory gatherings. Therefore, it is no surprise that a cappella music — a term that has become synonymous with 'unaccompanied singing,' both religious and secular according to Grove Music Online — still exists in most cultures around the world.
In the United States, a cappella music has taken on many forms, from gospel spirituals to unaccompanied folk songs. In the last few decades, there has been a surge of a cappella music that attempts to imitate popular and rock music arrangements, including instrumentation and percussion. This movement has mainly existed in the form of collegiate ensembles, but occasionally a non-collegiate group is able to make a name for itself in mainstream venues. One such group that is attempting to do so is Los Angeles-based Sonos.
The sextet released their eponymous debut last week. I have been listening to it off and on for a while now, and each time I hear it, I remain impressed with the quality of the recording and production. Their vocals blend together perfectly, and except for the soloists, no one voice stands out as uniquely identifiable — a desirable trait in vocal ensemble music.
For their source music, the group has drawn from a wide range of artists and genres. The album's highlights include Radiohead's "Everything In Its Right Place," The Bird and the Bee's "Again and Again," and Rufus Wainwright's "Oh What A World." However, the group doesn't just do an excellent job of reproducing the originals, they also take some creative license in how the songs are spun. Notably, Jesca Hoop's folk-pop "Summertime" is given a tribal feel by changing the syllables sung to imitate the instrumental parts to those commonly associated with that type of vocal music.
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