Stephen Upshaw: Veneer
Jan. 7th, 2026 01:13 amA veneer is a promise made by surfaces. It is the thin layer we polish so the hand does not snag on splinters, the face we present so the wound can breathe without being seen. Stephen Upshaw’s debut recording understands this double bind with unnerving clarity. Across four works, his viola does not seek to anesthetize pain but study it as a corporeal fact, as memory lodged in muscle and bone, as a story retold until it becomes survivable. The cumulative effect is that of the self in rehearsal, learning how to carry its history forward without collapsing beneath it.
What unites the program is not style but pressure. Each piece asks how much strain a body can hold before it begins to speak in new tongues. Color here is not cosmetic. It is bruised, mottled, alive. Expression arrives without apology, attentive to the smallest particulate of sound, the way sensation gathers around a nerve before announcing itself as hurt or hope.
Lavinia (2021) by Errollyn Wallen opens with insistence, a four-note figure that refuses to stay dead. It returns altered, re-embodied, as if granted another life each time it risks itself. The music behaves like memory under stress, replaying a moment to test whether it can be survived differently. The titular character, drawn from Virgil’s Aeneid, stands between allegiances, her silence thick with consequence. Wallen reframes that restraint as ignition.
When fragments of her aria from Dido’s Ghost surface near the end, they do not resolve anything. They hover, exposed. The bow scrapes against sadness and subjugation until pigment leaks through, shades that feel newly discovered yet eerily familiar. These hues were always present, buried beneath histories written by marching feet and the self-justifying bloodshed of men. Their vanity cracks just enough to let the old light show through.
The New Hymns (2019) by Aaron Holloway-Nahum turns inward with a different urgency. A low drone holds the ground while microtones grind against it, chiseling away at silence. The music feels carved rather than composed. One perceives the gradual emergence of hands, the curve of a face, the suggestion of feet braced against cold stone. What resists completion is the mouth. Speech remains difficult, costly.
When the voice finally ignites, it does so faintly, like an ember refusing extinction at the edge of hearing. The effect recalls a whale’s call translated into fragile poetry, a message meant for distance and deep water. Harmonics drift in, field recordings brush against the viola’s grain, and together they open a corridor toward terror. This is not spectacle. It is the sound of a final convulsion offered up by a mind that has wandered too far from safety. The hymn becomes new by abandoning consolation.
Soothe a Tooth (2020) by Tonia Ko is shorter, sharper, and no less harrowing. It attends to the small violences we inflict on ourselves without noticing. Clenched jaws. Fractured enamel. A tongue dried by vigilance. The piece isolates such gestures of tension and release, crawling under fingernails, behind eyelids, and into the folds of the ear. Touch asserts itself as syntax. Meaning arises from friction with material reality, then fractures under the burden of interpretation. Moments of liquidity appear, convincing in their ease, only to dissolve into abrasion. When the bow bounces, it does not celebrate. It tests the possibility of defying gravity for an instant, knowing the fall is inevitable.
Trauma lives in details. It teaches an intimacy with pain that is both precise and exhausting. Healing, too, becomes granular. Progress is measured not in leaps but in the ability to notice when the body tightens, when it loosens, when it remembers too much. Ko’s piece dwells in that awareness, where endurance masquerades as normalcy and relief proves temporary yet necessary.
Veneer (2011) by Ed Finnis closes the program by shifting the question. Harmonics form a metaphysical chain, echoing inside the skull through altered tuning and electronic reverb. The sound seems less played than inhabited. Each overtone refracts into another, opening space where the earlier works allowed little. Hope enters quietly, without rhetoric. Cells unfold one by one, patient, almost tender, suggesting that new life might arise not by erasing damage but by learning to resonate with it. A single pizzicato note appears, sudden and alive, like an eye opening in an unfamiliar century, curious about where entropy might still offer joy.
Taken together, Veneer proposes that outward appearances are not lies. They are negotiations. They can hide infection, yes, but they can also protect what has not yet healed. Upshaw’s playing understands this paradox. He does not tear the mask away. He listens to it. In doing so, he reveals how the flesh carries its narratives forward, not to forget the wound, but to imagine what might still grow around it.
The album is available via Bandcamp here.












