but by god there will be singing!

CONCERT REVIEW: The Swingle Singers

A cappella music - that which is created by means of the human voice (or other body parts) - has been around for centuries, from Gregorian chant to barbershop quartets. But recently, it seems to have been making a particular resurgence in the public eye, thanks largely to the sudden explosion of student-run a cappella groups on college campuses over the past few decades.

If there is one group who is most obviously at the forefront of this revival, it is, without doubt, the eight member, London-based Swingle Singers. Formed in Paris in 1962, the group has since released over fifty recordings, and have won five Grammy awards; although their lineup has changed completely from the original members, their quality of their sound has not diminished in the least. And as the opening night act for the first annual London A Cappella festival - the brainchild of two of the Swingles - the group demonstrated why they stand as one of the best vocal groups in the world: for to hear the Swingles perform is to witness an act of near-perfection, in terms of pitch, rhythm, and general musicianship.

The group's performance covered music from all ranges of the musical spectrum - from the Beatles to Chick Corea, from Joni Mitchell to Count Basie and Arcangelo Corelli - and the arrangements were dense and lively, filled with jazzy, dissonant chords and countermelodies. And though many of the more energetic songs - such as Gershwin's "Fascinating Rhythm" or a slick, sexy tango which closed the first half - were distinct highlights, it was the slower numbers which provided the evening's greatest impact. The Swingles opened with Nick Drake's "River Man," the melody of which was perfectly suited for Sara Brimer's haunting, reverb-drenched soprano, and whose accompaniment gradually blossomed into a rich, interweaving tapestry of voices. Better yet was the astonishing cover of Icelandic singer Bjork's "Unravel," a verifiable jigsaw puzzle of jagged, beautiful harmonic fragments and echoes which gradually melted into an almost-reverential fade. When the audience applauded, it was almost tentative - as if doing so would shatter something delicate. But there was no such hesitation when the singers walked back onstage for their encore: the sound which greeted them was full, enthusiastic, and seemed to beg for them to never stop.

Concert score: 95