back in stock as of
february 26th, 2013
first in stock on
december 18th, 2012
|recollection grm (austria) #regrm 006 lp|
ivo malec “triola ou symphonie pour moi-même” long playing record
- triola 1: turpituda (9:30)
- triola 2: ombra (12:03)
- triola 3: nuda (12:00)
- bizarra (7:30)
|december 2012 release ; ... the holy grail of ina-grm “bleep-out” tactics, this set of early-to-late 70’s pieces by yugoslavian-croatian composer ivo malec, composed (largely) on the studio’s coupigny modular system & edited / assembled with a deftness rivalling (hell, exceeding) that of the center’s more well-known composers ...|
... along with ákos rózmann’s “bilder inför drömmen och döden / images of the dream and death” this is one of the absolute peaks of “classic era” “studio” synthesizer-based electronic music (making it something of an odd duck amidst the schaeffer-ian acolytion, even this late in the game) ; its arrival here in full-spec regrm glory is a major cause célèbre ... highly recommended !!!
|recollection grm press release...|
regrm 006 / ivo malec
triola ou symphonie pour moi-même
release date 03.12.2012
digital transfer: jonathan fitoussi
cut by rashad becker at dubplates & mastering, berlin, october 2012
layout: stephen o'malley
translations: valérie vivancos
coordination grm: christian zanési & françois bonnet
executive production: peter rehberg
this piece marked my return to the studio after several years of absence, a return, which for unknown reasons, needed to be part of a rather ambitious project - a strictly personal idea... this is how my mind slowly turned towards the design of a musical narrative meant to stand for a relearning of the trade, the temptation to use purely electronic material so as change it into something other than itself, a wide range of form(s) and, when possible, a work, if not a musical piece.
the title, triola (triplet), was chosen to emphasise these three movements, each with their own title and which, just like the three equal values of the triplet, sustain a basic unit through interference. this is quite symbolic, as is the alternative title: the "symphony for myself" is not only named so because i wanted to offer myself something – which i did - but perhaps and above all, because i had a score to settle (with myself). one could even say that the piece is autobiographical. we could do it but we do not need to: that is not the question.
in order to understand this piece, it has always been possible to follow two paths, quite different if not divergent. the first one relies on an imagery whose roots i would gladly trace back to lautréamont's "deserted swamps" and "emanations" and to which i would add boiling lands, wet forests, volcanic landscapes and all kinds of entrails. the other path is that of the realities of a studio where, like a craftsman, the composer manipulates, stretches and releases with his fingers a (magnetic) tape, facing the ears of a (magnetic) head, trying to find the narrow door for the "real" sound to pass through. the rest - is mere work, stewardship.
how can one bring these two distant paths together? it is indeed necessary, since the second one precedes the first one, whilst the first one transcends the second one.