ANNEA LOCKWOOD/RUTH ANDERSON – SINOPAH (SplitCD by Experimental Intermedia Foundation)
Here’s a CD that took me somewhat by surprise. I have a copy of Annea Lockwood outstanding ‘Soundmap Of The Hudson River’ (Lovely Music), and was more than slightly tantalized by the fact that this composition titled ‘World Rhythms’ is comprised of a wide variety of naturally occurring sounds and was originally presented as a concert piece on a ten speaker system. The recorded sounds include volcanic eruptions, earthquakes, radio waves, geysers and mudpools, rivers, tree frogs, fire, waves, human breathing and a large tam tam, which is played in one continuous take during the performance. These sounds are mixed together as orchestral components and return continuously in different combinations, which means they enhance, augment and comment on each others’ timbre and pitch in different ways.
They are not presented as cute or tame environmental sounds for relaxation, the frequency range is huge with plenty of threatening bass from the seismic activity and an undeniable tension created by the sharp, insistent clicking of the pulsar. Fades are not always gentle. The inherent rhythms of the sounds add to the dynamics of the piece – volcanoes are slow, frogs are slightly faster, pulsars faster still. A beautiful addition, and the most familiar pulse of all (and a fine conceptual link to the Ruth Anderson piece) is the sound of human breathing.
Now, I’m not really a fan of sound poetry, a sonic adventure begun in part by Kurt Schwitters and continued by Henri Chopin, John Cage and others. The composition by Ruth Anderson titled ‘I come out of your sleep’ which forms the second part of this CD blew me away. It’s based on the speech vowels of a poem by Louis Bogan called ‘Little Lobelia’.
‘Vowels have a natural flow, while consonants define separate spaces and trigger distinct rhythms. Here, the vowels are whispered and elongated…The shapes of vowels become melodic arcs and tones…’
If ever there was a lullaby, then this is it. Gentle, soothing and intimate – on the threshold of hearing, which means you have to be quiet to hear it. Mere listening is not enough. (MP)
Address: <xirecords@compuserve.com>
ELIANE RADIGUE – TRILOGIE DE LA MORT (CD by Experimental Intermedia Foundation)
The only other work I know by Eliane Radigue is ‘Biogenesis’ which was released by Jerome Noetinger on his “Cinema pour l’oreille” (Metamkine) miniCD collection. (This particular composition consists of a gradually modified and expanded recording Eliane made of the developing child in her daughter’s womb.) Now there’s a trilogy of CDs which took her eight years to compose.
The first part ‘Kyema’ was originally released in 1992; the 2nd and 3rd parts are now available for the first time.
‘Kyema’ is inspired by The Tibetan Book Of The Dead. It ends where it starts, of course, but what a journey it is ! Overtones are coaxed out of the drones and soar, always increasing their altitude, folding back on themselves, creating vortexes and spirals which embrace you and invite you to travel with them, all the while cushioned by a soft, silky and reassuring bass drone.
The second part (and CD) is titled ‘Kailasha’ and is structured on an imaginary pilgrimage around one of the most sacred mountains in the Himalayas, which is also considered to be the centre of the world in Tibetan cosmology, and a place where one can gain access to the mythical kingdom of Shambala. (Ever seen those eminently groovy paintings by Nicholas Roerich, anyone ?) These pilgrimages are actually practiced in Tibet; unfortunately the composer was unable to physically undertake such a journey, and so made it symbolically, while composing the music (and whilst mourning the death of her son).
‘Koume’ is a celebration of the transcendence of death, of the eternal passage of death-rebirth as symbolised by the phoenix, of the promise of eternal life in most belief systems. And undoubtedly it is an indication of Eliane’s own coming to terms with the loss of her son. This piece plummets to the depths of bass, a low rumbling presence which lurks on the floor like heavy fog.
This release was engineered by Luc Martinez at the CIRM facilities in Nice. Eliane had been invited by Michel Redolfi, director of these studios, to prepare this work there. Analogue sounds were shaped and balanced in the digital domain where, of course, some compromises had to be made. The subtle shattering and unpredictable loss of fidelity that low tones and volumes experience on analogue equipment cannot be matched by the mathematical precision of digital equipment (which continues to make it a much more attractive medium to many composers). Still, this is the sacrifice that seems to have to be made for the kind of control that bits ‘n bytes provide.
This is music that only exists because of electricity, and it could also be considered an homage to that fact. (MP)
Address: <xirecords@compuserve.com>
RYOJI IKEDA – TIME AND SPACE (doubleminiCD by Staalplaat)
Two miniature discs which present two quite different aspects of Ikeda’s work. His last (very) short release on Touch didn’t move me much – I found the techniques uninspiring and it lacked the pristine frequency definition that I so admire in his work. (His previous CD ‘+/-‘also on Touch will, for the time being, probably remain the standard by which his output will be measured).
‘time’ is constructed from sine waves (I guess) and shards of radio communication. there are loads of tiny sounds which gradually converge to form a rhythm – a slow insistent pulse which finally breaks back into the radio space it left behind. It is a microscopic, investigation of the spaces between sounds too, as it includes clear, sharp silence, which offsets the rumble and pierce.
‘space’ is huge. A low cloud slowly emerges from a sparse, pixillated smattering of high-ping sinedrops. Again it surreptitiously fills the space, hovering above the floor like an unexpected breeze.
If played together, these two compositions rub each other up in a perfect mix of a crystal syrup. Get it before it’s gone. Then go with it. (MP)
address: <info@staalplaat.com
KEVIN DRUMM (CD by Perdition Plastics)
Now who is Kevin Drumm and why does he release in such a short time so much music? After two split releases with Taku Sugimoto this is a full CD by Drumm solo. Although he plays guitar, it’s hard to tell it’s one. There are many crackless, buzzes and hisses, and oh yes an occasional sound of a snare being strummed. Kinda like Pita when he would play the guitar on the LiSa programm I guess. The music seems to skip back and forth, like it was recorded on a boken DAT machine. Very strange, collage like music, but certainly one that move away from the traditional improv guitar playing and that’s what has been most appealling for me: with one foot in history, the other trying step into new territory. Needless to say, me think very good CD. (FdW)
Address: fax: 00-1-7733273887
DISC – GAIJIN (CD by Vinyl Communications)
DISC/NULL – DISCSONIC (CD by Vinyl Communication)
Sensations seldom happen. When I first put on Throbbing Gristle’s ‘Journey Through A Body’, I though my headphone broke – howling feedback. When an EFA representative played me Oval’s ‘Systemisch’ I laughed and said he gave us a broken CD. Feedback and CD skipping were intentional events that really did something – and both are classics. There is much cheap imitation. If one calls himself Disc his CD must be consisting of skipping CD’s. True. Much of what you find on his debut is Oval like, but never reach ‘Systemisch’ or ’94 Diskont’. Tracks are too long and things don’t move – ‘Systemisch’ is a poprecord remember. Disc is noisy to that extent. But sometimes funny – I can’t remember hearing “Love Will Tear Us Apart” by Joy Division, let alone I heard it skipping wise.
Of much more interest is the disc Disc recorded with sonic purveyor KK Null (whose CD on Vinyl Communications never made it here, but is well recommended). Much more coherent tracks, more solid and maybe even more noisy. It bares the same minimalism but is better executed.
Skip Disc’s own CD and go to DiscNull. And let Vinyl Communications invite a few innovative techno makers do to their remixes of Disc. (FdW)
REPTILICUS – <EIGHT.FITS> (CD by Staalplaat)
Finally a new release, but probably the last, by the icelandic duo (R.I.P.)
who have included old timers like A.M.McKenzie, Hilmar Ørn Hilmarson and
Godkrist on board. We have here only one long track “it was a boojum you
see” in four main parts, recorded live in 1996 at the infamous celebrity
hangout bar in Reykjavik the Twenty-Two.
We get quite the opposite from the usual “dancy industrial pop” tunes to a
pretty abstract floating improvised soundscape, a kind of a live side of
Reptilicus not too many people knew. Electronic noises, synths and samples
are heard and often fed through effects, we have two guest appearances by
percussionist Birgir Baldursson and the legendary Dr.Moi(who practically
lives in that bar) playing guitar. But what really catches your attention
is all the bird sounds wich make you wonder if Reptilicus perhaps were a
couple of male ducks during a breeding season.
But overall this is a nice documentation, especially beacause it is so
different from their previous works. Well, I mean it is a boojum you see…
(HB)
address: <info@staalplaat.com>